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COPYRIGHT DEPOSIT. 



American Dramatists Series 

BIRDS 
OF A FEATHER 

A Play in Four Acts 
THOMAS J. GAFFNEY 




BOSTON: THE GORHAM PRESS 

TORONTO: THE COPP CLARK CO., LIMITED 



Copyright, 1915, hy Thomas J. Gafney 



All Rights Reserved 






OCT 26 I9J5 
©CI,D 42086 



CAST OF CHARACTERS 

Jimmie Saunders 
Howard Knowles 
Morris Goldmann 
Officer Flannagan 
Sam Shaffer 
Rose Nohle 
Alice Winslow 
Amy 



ACT I 

Scene — Interior of Rose Noble's cabin, Black 
Mountain, Lake George. 

ACT II 

Scene — A nicely furnished drawing-room in a 
flat in the West Forties, New York City. 
Time — Three years after the first act, 

ACT III 

Scene — A handsomely furnished room in a side- 
street hotel in the Times Square district. New York. 
The entire place has an atmosphere of the theatre. 
There are several trunks, partially packed, around 
the room. There is a ''Three Sheet'' on the back 
wall showing a figure in Oriental costume, and posed 
as for dancing. Photographs of celebrities of the 
theatrical world adorn the mantelpiece and walls. 

Time — Three years after the second act. 



ACT IF 

Scene — A poorly furnished room in a tenement 
house on Rivington Street^ New York City. The 
walls are bare^ the furniture old, but everything has 
an air of cleanliness. There is a screen in one 
corner of the room hiding a bed. A window up 
stage looks out on a dimly-lighted air shaft. A 
sewing machine is placed in front of window so as to 
get the fast-fading light. The room is lighted by 
means of a lamp, which, as the curtain goes up, is 
discovered on table, down stage. 

Time — Same as the preceding act. 



BIRDS OF A FEATHER 



ACT I 



Scene — Interior of Rose Noble's cabin, Black 
Mountain, Lake George. 

The place is roughly furnished, yet homelike, 
giving the appearance of a woman's hand in its 
decorations. There is a folding bed on one side of 
the room. A hugh fireplace on the other side. 
Tables, rough wooden chairs, bearskin on floor. 
The door leading to the outside is closed, but the 
window is open a little bit from the bottom. 

At Rise — The stage is empty. The fire in the 
fireplace has a red glow, as though waiting to be 
replenished. 

After the curtain has been up for a moment there 
is a sound of distant shots. Another pause. Then 
breaking branches are heard from without. Another 
pause. Then some one is heard running, and the 
door is tried from the outside. It does not open, 
and after a second or two, a head is seen looking 
through the window. After seeing that no one is 
7 



8 BIRDS OF A FEATHER 

within, a man raises the window cautiously and 
enters, closing the window after him. There are 
more shots, a little bit nearer this time. The man 
looks around, frightened. He is holding his hand, 
which is bloody; he takes his handkerchief from his 
neck, dips it in the water pail near fireplace, binds 
his hand up, as well as he can. 

Rose Noble is heard talking in the distance, 
but gradually coming nearer. 

Rose — No, Sam, you needn't come in. 

{The man inside hears this, looks quickly around, 
grabs pistol from his pocket and hides behind cur- 
tains that evidently hide a bed, up stage. 

A key is heard in the lock, and after a moment. 
Rose Noble and Sam Shaffer enter.) 

Rose — You can't stay, you know that, Sam. 

Sam — I don't want to stay, Rose. I've got to 
go back and join the posse that a lookin' fer that 
burglar. 

Rose — Whatever'd you leave 'em for, just to 
bring me home? {Laughs.) Gee, anybody'd 
think I was a baby, the way you men around here 
look after me. 

Sam — Well, we do kinder look on ye as a baby, 
Rose. It aint very nice to be livin' alone up here, 
as you do. 

Rose — Well, I'd rather be livin' alone here, 
makin' my livin' with my little sewing, than I 



ACT I 9 

would to be livin' roun' the neighbors' houses, 
dependent on them for everything I get. I'm 
independent this way. 

Sam — {Uneasily.) Yes — I know you are — 
darned independent. {Coming closer to her.) 
Say, Rose, why can't you care for me a little bit.? 

Rose — {Seriously.) I don't know, Sam, why 
I can't — I jest don't, that's all. 

Sam — You know I've got my home all waitin' 
fer you. Rose — if you'll jest say the word. I 
don't think it's right — or safe — fer ye to be 
livin' like this. 

Rose — Pshaw! You needn't be aferred o' me. 
I've lived here ever since grandpop died, an' 
nothin's hurt me yet. 

Sam — Yes, I know that nothin's hurt you — yet. 
What I'm afraid of is, that somethin' will. You 
know, ever since these summer boarders been 
comin' 'round here — well, you never can tell 
nothin' 'bout them. 

Rose — Oh, Sam, you make me tired! One o' 
them same "summer boarders," as you call them, 
saved me from that bull dog last week, while the 
rest o' you all stood 'round lookin' as if you was 
scared to death. {Looking at bandage on her wrist.) 
Dr. Smith said I sure did have a close call. 

Sam — Ever seen him since.? 

Rose — No, I aint. It's funny, too, 'cause he 



10 BIRDS OF A FEATHER 

said he was goin' to stay here for some time to 
come. 

Sam — Well, I guess he didn't. No one's seen 
him since that day. {Thinking.) Say, it's a 
funny thing; but that same night the burglaries 
started in the summer cottages 

Rose — {Angrily.) Now look-a-here, Sam Shaf- 
fer — I s'pose you're thinkin' he had somethin' to 
do with them. 

Sam — Well, he might have. 

Rose — ^That's foolishness. Such a fine-lookin' 
feller as he is! Gee, I could fall in love with a 
man like him, 'thought no trouble at all. 

Sam — Oh, what would a feller of his class want 
with a girl of yours.'* Then ther's that other one — 
the feller that's always a runnin' up here to see 
you. What's he want.^ 

Rose — Not that's any of your business, but 
just to show you I could have a lot of money if I 
wanted it, I'll tell you. He wants I should sell 
the place to him for a summer home. He's 
offered me as much as a thousand dollars for it — 
just yesterday. 

Sam — Before you sell the place to him, you'd 
better let lawyer Oakford look him up. 

Rose — (Softly.) I don't want no one to look 
him up. 

Sam — {Angrily.) Has he ben a makin' love to you } 



ACT I 11 

Rose — If he has, it's none of your business. 

Sam — Well, I'll make it my business if he don't 
let you alone. 

Rose — Why? I've told you I don't love you, 
an' I'm not a'goin' to. 

Sam — Well, you know that I love you. Rose — 
I have loved you ever since you an' me went to 
school together. There aint no one else to look 
after you — 'ceptin' the folks of the village, an' 
you bet we're a'goin' to do it, too. 

Rose — I don't want no lookin' after — I've 
told you that lots of times. (Petulantly.) I guess 
you'd better be a'gettin' back to that posse, if 
you want to catch your robber. 

Sam — All right. Rose — I'm goin'. {At door.) 
But Pm goin' t' keep on lookin' after you as long 
as you live, an' don't you forget it! {Exit, 
slamming door after him.) 

{Rose laughs aloud. She throws wood on the 
Hre. Takes of her hat., lights lamp, fills kettle from 
water pail, hangs it on hook in fireplace, closes 
window and starts toward curtains covering bed. 
As she nears them, the Man who is hidden there, 
comes from behind them, covering her with his pistol. 
He has put on a mask while hidden behind the 
curtains^ 

Man — Hands up' 



12 BIRDS OF A FEATHER 

Rose — {Gives a startled scream.) Oh! {Looks 
toward door as though thinking of running out.) 

Man — Pull down that curtain. {Indicating 
curtain at window.) 

Rose — {Does so.) Say, you needn't scare a 
feller to death. I'm only a girl, unarmed. 

Man — You've got a worse weapon than my 
pistol — if I'd let you use it. 

Rose— What? 

Man — Your voice and tongue. 

Rose — Gee, you must be a brave man — not 

No wonder you're ashamed of yourself, keeping 
your face covered that way. 

Man — Well, I'm not exactly proud of myself. 
Say, what would you do for any one who had 
saved your life.^ 

Rose — That's a funny question. If I had the 
chance I'd save their life, too. 

Man — You're sure of that.^ 

Rose — Of course I am. Who are you, anyway.** 

Man — Did you hear those shots outside a while 
ago.? 

Rose — I sure did. They kept me a-waitin' at 
the foot of the mountain for a long time because 
they said the robber had — — {Breathlessly.) 
Say — you aint him, are ye.? 

Man — (Slowly.) Yes, I'm him. 

Rose — {Frightened.) Oh! 



ACT 1 13 

Man — Well, you needn't be scared. I won't 
hurt you — not if you do nothing to let them know 
I'm here. 

Rose — Take off your mask. 

Man — What for.? 

Rose — 'Cause, there's somethin' about you I 
know, but I can't place you. I want to see your 
face. {He slowly unfastens mask.) You! 

Man — Yes, me — the man who saved you from 
that dog last week. 

Rose — You're the burglar.? 

Man — {With a grim smile.) I am. {Suddenly 
starts, holding hand.) 

Rose — Your hand is bleeding. 

Man — Yes, I'm shot. {Looking around.) I 
guess I'm treed. 

Rose — You're not treed while I'm here. 
{Goes to window^ looks out cautiously.) Nobody 
out there. Guess they've lost you. {Taking his 
hand and unwrapping handkerchief.) It's nothin' 
but a flesh wound. Now — {Going behind cur- 
tains to bed) don't look 'round. {Takes off skirt.) 

Man — All right, I won't. 

Rose — {Tears up skirt she has taken off, gets 
some water from the kettle she has placed upon the 
fire; washes and bandages his hand.) Say, mister, 
I'd do most anything for you after what you done 
for me. 



14 BIRDS OF A FEATHER 

Man — Yes, I know, little girl. 

Rose — I don't know what to call you. 

Man — Neither do I. Some people call me — 
but never mind, don't call me anything. 

Rose — I'll just call you friend. 

Man — All right, little girl. Say, you're a brick. 

Rose — Are you makin' fun of me.^ 

Man — Of course not — why.? 

Rose — Down in the village they call me 
"brick top," 'cause my hair's red. 

Man — I meant you're made of good clay. 

Rose — {Finishing binding his hand.) There, 
is that all right."* 

Man — It sure is. 

Rose — Why does a man like you steal for a 
living.? You know it's wrong. 

Man — When I see something I want, a diamond 
necklace or a string of pearls — even a bag of pea- 
nuts — something dares me to get it. The game 
fascinates me. I know the danger — shot — 
prison — and all that, but I must have what I've 
seen and — I usually get it. When I do get it, I 
don't want it any more; but I love the life, the 
excitement — the danger. I can't stop it — I've 
tried, but it's no use. I must steal, steal, steal! 
It's in my blood. 

Rose — (Thoughtfully.) I wonder if I couldn't 
help to make you better. 



ACT I 15 

Man — {With a hitter laugh.) Don't you ever 
try to reform a criminal. It can't be done. 

Rose — I'd like to try. 

Man — How .'* 

Rose — Well — by thinking of you — by your 
knowing I was thinking of you. Whenever that 
feeling to steal gets too strong in you to resist, 
you'd think a little bit of me — of the girl whose 
life you saved — and then, perhaps, you wouldn't 
do it. 

Man — Why, I tell you, nothing on earth can 
stop me. Even my mother couldn't stop me — 
and I loved her better than I ever loved any one 
else on this earth. 

Rose — But you can't help me thinking of 
you. 

Man — No, and I'll remember you. Are you 
all alone here.'* Haven't you any one to protect 
you.^ 

Rose — Oh, all the people 'round here guard me. 
You heard Sam — what he said.? 

Man — The man who was here with you just 
now.? 

Rose — Yes. 

Man — Yes, I did, and I wondered at the time 
why you wouldn't do what he asked you to do. 
A little girl like you needs some big man to protect 
and love her. Isn't he good enough for you.? 



16 BIRDS OF A FEATHER 

Rose — He's got a heart as big as an ox — but — 
but 

Man — But you don't love him, is that it? 

Rose — No, I don't. 

Man — Well, the right man will come, some day. 

{A knock on the outside door. The Man jumps 
up, grabs his pistol, looks about for a place to hide. 
Knock is repeated.) 

Alice Winslow — -(Outside.) Open the door; 
let me in! 

Man — {Whispering.) I guess Fm trapped! 

Rose — {Whispering.) I guess you're not! 
{Going to folding bed and opening it.) Here — ^get 
in here for a few minutes. It's the only place 
there is — now. 

Man — {Gets inside bed.) Gee, I can't see! 

Rose — You don't want to see. I'll see for you. 
{Closes bed.) 

Alice — {Outside, kicking on door.) What's the 
matter — open the door! 

Rose — {Going to door, throws it open.) Come in. 

{Enter Alice Winslow.) 

Alice — Well, you're slow enough about letting 
a person in. 

Rose — Why shouldn't I be — I didn't know the 
"person's" voice — ^and this place isn't very safe 
with a robber outside trying to get away from a 
crowd of men. 



ACT I 17 

Alice — {Laughs.) Well, for Heaven's sake! 
You didn't take me for a robber, did you? 

Rose — {Looking at her suspiciously.) Well — 
you never can tell. Are you one of the summer 
boarders, lost on the mountain? 

Alice — I'm a summer boarder all right, but 
I'm not lost. {Looking around.) 

Rose — Then what on earth are you doing up 
on the mountain at this time of the evening? 

Alice — I wanted to see you. 

Rose — See me? What for? 

Alice — Oh, for several reasons. In the first 
place {proudly), I'm an actress! 

Rose — {Innocently.) Oh, one of them "show 
folks"? 

Alice — {Smiles.) Well, yes, that's me. 

Rose — {Looking at her admiringly.) Gee! I 
never seen one before. {Disappointed.) Why, 
you're almost like us other folks. 

Alice — Well, what did you expect? Did 
you think we had horns? 

Rose — {Still studying her.) Well, I didn't 
know. My! {Admiringly.) You're dressed like 
a peacock. 

Alice — Oh, not so's you could notice it. I 
had to wear out my last season's wardrobe, and 
where'd I find a better place than among all the 
"rubes"? I'm stopping down at the lake, at 



18 BIRDS OF A FEATHER 

one of the hotels, studying a new part for the 
show. Vm going to play a "Merry Little Moun- 
tain Maid," and I came up here to get the at- 
mosphere for the character. 

Rose — (Innocently.) You can't take that away, 
can you ? 

Alice — Take what away.'' 

Rose — The atmosphere. 

Alice — {Looks at her suspiciously .) Say, are 
you "kidding" me.? {Rose shakes her head.) 
Well, all right then. When I speak of getting 
the "atmosphere," I mean studying everything 
that will help to make the part stand out when 
I play it. 

Rose — Well, what can I do for you? 

Alice — Oh, you.? Well, you can let me study 
you, too. 

Rose — What good'll that do you t 

Alice — Why, don't you see.? If I can do the 
things on the stage that you do in your own 
home, it will make my part more natural. I 
heard everybody talking about you ever since 
I've been here, and I wanted to see you. I've 
been waiting at a farmhouse, down the road, 
almost all day, just to get a glimpse of you, and, 
when you didn't show up, I thought the best 
thing I could do would be to come up and see you 
myself. 



ACT I 19 

Rose — {Quietly.) Is that all you wanted to 
see me about? 

Alice — Well — you see, people are talking 
about you 

Rose — {Quickly.) Do they say anything wrong 
about me? 

Alice — Why should they? Have you enemies? 

Rose — I don't know. Some people say nasty 
things because I live here alone. 

Alice — Yes, I've heard you lived here — alone. 
YouVe lived that way for quite a long time, 
haven't you? 

Rose — For the past two years. {Sadly.) 
Ever since grandpop went away. 

Alice — Where'd he go? 

Rose — About one-half mile down the road, 
where there is a turn — and a little wooden cross. 
{Wipes her eyes furtively.) 

Alice — Dead? 

Rose — Dead. 

Alice — {With a slight shiver.) Aren't you 
afraid to be here all alone — in the mountains? 

Rose — Why should I be? I can shoot a pistol 
'most as good as any man. If you'd hold up a 
nickel between your fingers, I'd pop it out every 
time. Want to see me? {Takes a small revolver 
from fireplace shelf.) 



20 BIRDS OF A FEATHER 

Alice — Well, hardly — I didn't come here to 
be a target. {Laughs.) You certainly are a 
unique type. No wonder he's 

Rose — No wonder "who's ".^ 

Alice — Oh, nothing. Say, would you sell the 
clothes you've got on.? 

Rose — {Astonished.) What for.? Do you want 
me to go naked.? 

Alice — Why, no, dear child. I'll give you five 
times the price of those clothes. 

Rose — {Looking down at clothes.) Don't they 
fit all right.? 

Alice — Yes, pretty well. 

Rose— Well, then, I'll not sell. 

Alice — Oh, all right. {Looking around the 
room.) Say, you've got a cozy little place here, 
all right, all right. Where'd you get all the 
furnishings.? 

Rose — Oh, they was grandpop's. Some of 
'em he had a long time. That bed is the newest 
thing. 

Alice — Oh, that's a folding bed, isn't it.? I 
thought it was a bookcase. 

Rose — Yes, most people who see it think that 
same thing. It took grandpop two whole days 
to get it up the mountain from the hotel. 

Alice — How on earth did he ever come to buy 
that? 



ACT I 21 

Rose — Oh, he didn't buy it. They g3ive it to 
him — in fact, paid hixn to take it. 

Alice — What for.^ 

Rose — {In a matte r-oj-j act tone) It was buggy. 

Alice — Dear me. {Edging away from bed. 
As her hack is turned^ an ornament fails from top of 
bed.) 

Alice — {Startled — turns.) What's that.^ 

Rose — {Also startled.^ looking at bed apprehen- 
sively.) Oh, that — that — oh, that's nothing. 
{Laughing nervously.) I — I just wanted to show 
you a trick. 

Alice — ^Well, what's the trick. ^ 

Rose — I — I — can't ever do the sam.e one 
twice. If you wait a while I'll show you another. 

Alice — {With meaning.) Oh, I'll wait all right. 

Rose — ^Now, tell me, honestly, what you came 
to see me for. 

Alice — {Looking at her keenly.) Gee, you're 
a smart one. Well, if you want to know, I came 
up here to give you a bit of advice. 

Rose — {On her guard.) Advice.^ About what.^ 

Alice — {Bluntly.) About — Howard Knowles! 

Rose— {Startled.) Oh! { fV it h dignity.) Well, 
what about him.^ 

Alice — I came to advise you — for your own 
good — to let him alone. And what's more — to 
make him let you alone. He's coming here too 



22 BIRDS OF A FEATHER 

much altogether — for your good and — well, if 
you must know it — mine. 

Rose — That's his business, aint it? And mine? 

Alice — Well, I'm going to make it mine, too. 
What's he trying to do with you ? 

Rose — {Indignantly.) He's been talking busi- 
ness to me — that's what! 

Alice — (Sneers.) I'll bet — fine business! 

Rose — Well, anyway, it's my business — not 
yours. I like Mr. Knowles and I don't care who 
knows it. {The bed is seen to shake, and creaks a 
little. Neither of the zvomen pay any attention to it.) 

ALicE~{Jealous.) Well, / "like" Mr. Knowles, 
too, and I'm not going to have any snip of a 
country gawk coming in between him and me 

Rose — {With a little cry.) What do you mean? 
Why, he told me 

Man — {From inside bed.) Open this bed! 
I'll smother! 

Alice — {Screams.) What's that? A man's voice! 

Rose — {Nervously.) Oh, that's nothing — 
that's just another trick I'm going to show you. 

Man — {Inside bed — struggles — bed starts to come 
down.) Hurry, open it up. I can't stand it any 
longer! 

Alice — {Watching bed.) Oh-ho! I guess I 
understand now why people talk about you! 

{Bed flies open and Man tumbles out.) 



ACT I 23 

Alice — {With cruel laughter.) A man! Well, 
well, well! Good-night, my sweet little mountain 
flower! {Laughter.) I guess there isn't much 
chance of me losing Howard, after all. {Exits 
laughing.) 

Rose — {Bolting door after her — goes to side of 
Man, who is brushing dust out of his eyes.) Did 
you see her? 

Man — No, I couldn't see anything. {Scram- 
bling to his feet.) I'll have to get out of here right 
away. She saw me! 

{Shout heard quite near house from outside.) 

Man— My God ! I've got to get away from here. 

Rose — {Putting light out, then going to wiridow 
cautiously.) You can't — now. There's some one 
comin'. You can't get out of here, 'ceptin' one way. 

Man — {Nervously.) Which way's that.^ 

Rose — {Tensely.) That's a way nobody knows 
but me. My grandpop used it a good many 
years ago— for reasons— {Pulls bearskin rug 
away from spot on floor.) Those boards can be 
removed. There's a trapdoor that leads through 
a ravine to a cave that overhangs the lake nearly 
half a mile below. There is a knotted rope 
fastened to the rock and concealed by the vines. 
When you get to the bottom, take any one of 
the boats you find there, pull the staple, row 
to the other side of the lake — and you're safe. 



24 BIRDS OF A FEATHER 

Man — It's my only chance — I've got to hurry. 
{Removing boards.) I don't know what you're 
doing this for, little girl. I can't understand it. 
I never did have any one try to help me before 
in all my life. 

Rose — I'm doing it — because you saved m.y 
life — from that dog ! 

Man — {Has removed trapdoor — stands in trap^ 
on steps.) Well, all I can say — now — is God 
bless you! I'm bad — I always will be bad, I 
guess, but {drawing notebook from pocket, hastily 
writing on a sheet of it and tearing sheet out — gives it 
toher)-^\i you ever need a friend, no matter where 
you are, write to me, and if I'm alive, and out of 
jail, I'll come. {She takes paper , tries to read.) 
Can't you make it out.^ {She shakes her head.) 
Jimmie Saunders, 23 Rivington Street, New 
York. That's what it says. {Noise of horse is 
heard approaching.) 

Rose — {Goes quickly to windoti\ looks out.) 
Ssh! Some one's coming! Quick! Go! 

Jimmie— (/« whisper.) I'm off. I'm mighty 
sorry if I've got you into any trouble. 

Rose — {Anxiously.) Oh, hurry! What trouble 
could you get me into t 

Jimmie — {Amazed at her ignorance of social 
customs.) Oh — none, I guess. {Knock on the 
door.) 



ACT I 25 

Rose — Oh, please go. You must! 

JiMMiE — {As he disappears through trap.) Re- 
member, Jimmie Saunders, Rivington Street. 

{Rose^ as he disappears^ quickly closes trapdoor, 
throwing bearskin over it again. 

Knowles — {Knocks on door again.) Open the 
door. It's I, Rose. 

Rose — {Kneels with her ear to the floor, as if 
listening, to see whether Jimmie had gone.) All right 
— ^just a minute. {When she is satisfied that he 
has, she arises, quickly looks about room to see 
whether any signs of his visit remain, then goes to 
door and throws it open) Come in. {Yawns) I 
was pretty tired, and so I layed down fer a little 
while. {Yawns again.) Gee, but you skeered 
me! 

Knowles — {Enters, looks about suspiciously.) 
You haven't seen that burglar they've been look- 
ing for, have you.'* 

Rose — I aint seen nothing that even looked 
like a burglar. {Shyly.) I'm — glad to see you. 

Knowles — And I'm glad to see you. I was a 
little bit worried about you. 

Rose— Why.? 

Knowles — Well, you see, after the robbery at 
the Sagamore Hotel, three nights ago, when a 
partner of one of the dancers stole her pearl neck- 
lace, and escaped, we've been looking for him; he 



26 BIRDS OF A FEATHER 

stole a boat from the landing and was seen heading 
this way. We've been chasing him hard all day — 
he's here on this mountain somewhere — he can't 
get away. We've had one good sight at him, and 
one of the men took a shot at him. 

Rose — Shoo! It must ha' been a deer. 

Knowles — Don't you think we can tell a man 
from a deer.^ 

Rose — (Simply.) Not if you're city folks. 
*'Deer" are shot here every year, and afterwards 
turn out to be men. 

Knowles — Well, that's so. (Smiles — comes 
closer to her.) You know (softly, ingratiatingly) — 
this is the night you were going to give me your 
answer. 

Rose — (Hafiging her head a little.) Yes, I 
know I was. (Suddenly.) Do you really want 
me to go away with you — away off to the big 
city — really want me to marry you 1 

Knowles — Why, of course I do. 

Rose — (Shaking her head.) Honestly, I don't 
see why. There you have all of them beautiful 
women down to the hotel — and yet you fall in 
love with me. Oh, I just can't understand it 
nohow. 

Knowles — (Placing his arm around her.) Why, 
it's simple enough, none of them are half as 
beautiful as you are, nor half as good. 



ACT I 27 

Rose — Yes, but another thing I can't under- 
stand is why you don't want to marry me right 

here where all my friends are {Wistfully.) 

You — you aint ashamed of me, are you? 

Knowles — Of course I'm not ashamed of you. 
You see, it's like this. I simply can't let people — 
my people — know that I'm married for three 
whole years; if I do, I lose all chance of the money 
that was left to me, providing I didn't marry until 
I was thirty-five years old. 

Rose — {Startled.) Three whole years .^ Oh! 
Have we got to wait that long.? 

Knowles — {Laughs.) Of course not, little 
foolish! We'll be married right away, but we'll 
keep it secret for that length of time. 

Rose — {Looking doubtful.) Oh h! 

Knowles — Why, you trust me, don't you.? 

Rose — {Throwing her arms about his neck.) 
Of course I trust you — you can't doubt that. 

Knowles — All right, then. You'll go to-night.? 

Rose — ^Oh, not to-night — surely. You won't 
want me to go without saying good-bye to any- 
body, will you.? 

Knowles — {Softly.) It's best, little girl. 

Rose — {Looking about the room, sadly.) All 
right. Just as you say. 

Knowles — Now, tell me, did you get that pail 



28 BIRDS OF A FEATHER 

of water for me — you know, the funny-smelling 
water from the secret well ? 

Rose — Of course I did, but I can't see what you 
want with it. Grandpop told me never to tell 
anybody where that well was, cause if I did, it 
would bring nothing but misery to everybody 
connected with it. 

Knowles — ^^Well, you don't have to tell even 
me where it is located. I just wanted to see what 
it looked like. 

Rose — {Taking small pail from behind curtains 
oj window,) Here it is. 

Knowles — {Hurriedly takes it^ bends down before 
fire, lifts it to the level of his eyes, holding it so that 
the rays of the fire will fall upon it. Nods his head. 
Sticks his finger in it, and tastes it with the tip of his 
tongue. Spills a little bit on his white handkerchief, 
holds that in front of fire until it dries, and then 
smells handkerchief — almost to himself.) By God, 
it is 

Rose — {Who has been watching all this in blank 
amazement.) 1% what? 

Knowles — {Looks at her a moment as if he did 
not see her — then suddenly comes to his senses.) 
Oh! Why, it's just what I thought it was — very 



ACT I 29 

bad, dangerous water. Your grandpop was 
right — you must never tell any one where the 
well is located. It would bring nothing but misery 
to any one who did not know how to use it. 

Rose — I don't see how I could ever tell any one 
but you about it — seeing I'm going away with 
you to-night. 

Knowles — ^That's right. (Looking at her 
keenly.) You know, little girl, I love you. I've 
told you so many times, and you trust me ab- 
solutely, don't you.? 

Rose — Why you know I do. 

Knowles — Yes, but you shouldn't! 

Rose — Shouldn't.? Why not.? 

Knowles — Oh, there are lots of bad men in the 
world who go about taking advantage of little 
girls like you. Now, to protect you, I'm going 
to sign a paper with you — in that paper we will 
say that three years from to-day our marriage 
shall be announced. I've had the paper all 
ready for some time. {Taking legal-looking 
document from pocket.) Here it is. {Opening it — 
pointing to place on it.) You sign your name here 
— I'll sign mine just below it. {Takes fountain 
pen from pocket,) 



30 BIRDS OF A FEATHER 

Rose — {Hesitating.) But — I don't see no use 
in our doing all this. {Taking pen, he holds it out 
insistently.) Of course, as long as you want me 
to, I'll do it, but, honestly, it seems foolish to me. 

Knowles — {Pointing to line on paper, which 
he has folded so that she cannot see the contents.) 
Right there. {She signs her name.) That's 
right. {She is about to take paper and look at it.) 
No, don't do that. There is so much in the paper 
we won't have time to read it now. After we are 
married, to-morrow, you shall have a copy of the 
paper to keep with you always. 

Rose — {Dreamily.) "After we are married!" 
I wonder if you men know all that word means to 
us? I wonder if you ever stop to think what our 
going away with you men means. ^ Leaving all 
we ever loved, to go into strange places, 
among strange people? I wonder if you 
ever could realize just what we expect of you? 
I'm putting all my trust in you {places her arms 
about his neck), and I'm going with you, without 
knowing anything about where I'm going or what 
I'm going to do. You wouldn't deceive me, 
would you? You wouldn't ask me to go unless 
you really loved me, would you? You wouldn't 
want me to give up all I have here unless you 
wanted to give me something better in the place 
you're going to take me, would you ? 



ACT I 31 

Knowles — {Holding her close to him.) No, 
dear — I do love you and I'm going to take care of 
you, always. {Looking at watch.) Can you get 
ready and meet me at the foot of the mountain 
in half an hour? 

Rose — {Almost in tears., looking about the room.) 
Yes — I think so. 

Knowles — Good; then I'll go now, get a rig 
ready and meet you, just as soon as I have ex- 
plained my disappearance to the posse. {Starts 
for door.) Don't bother to take anything with 
you. We'll buy everything you'll need in New 
York, to-morrow. 

Rose — {Tearfully.) Can't I take nothin'.? 

Knowles — Of course, you foolish little girl. 
I meant no clothes or anything like that. {Holds 
out his arms to her — she runs to him.) Good-bye, 
little sweetheart — ^just for a little while. I'll 
meet you in half an hour. {Kisses her and exits.) 

Rose stands just where he has left her, looking 
after him. After a moment she turns., looks around 
the room., sobs and falls in front of fireplace, burying 
her face in the bearskin rug. 

After a moment she gets up, goes to the table and 
writes a letter, which she places in a conspicuous 
place on the table. 



32 BIRDS OF A FEATHER 

She then takes her hat from the peg, puts it on, 
takes down her coat, gives one last look around the 
room, sees her mother^s picture on the mantelpiece, 
goes to it, takes it up, kisses it and, sobbingly, goes 
to door without looking back again, placing the 
picture in her bosom as she does so. Exits. 

There is a moment^s pause, then the curtain falls . 
CURTAIN 



ACT II 

Scene — A nicely furnished drawing-room in a 
flat in the West Forties, New York City. 

Time — Three years after the first act. 

Discovered — Amy, the colored maid servant, in the 
act of opening a large box containing a new dress. 
She draws it out, holds it up and admires it, shaking 
her head as she notices it is not quite finished. 
After a moment, Rose enters from the door at side 
of room. 

Rose — Has the dress come yet, Amy? 

Amy — Ya'as, indeed, Missie. It suah has, 
but it don' look to me as if de lad-y wot done 
de work had finished it. 

Rose — {Going toward her and looking at dress.) 
She certainly has not. What am I going to do 
now.? I wanted that dress for to-night — for a 
particular reason. 

Amy — Ah dunno, Missie. Mebbe you kin git 
her on the telephone and tell her to come on over 
an' fix it. 

Rose — She hasn't a telephone number. I 
think you'll have to go over yourself and ask her 
to come. Will you.? 

33 



34 BIRDS OF A FEATHER 

Amy — Of co'se ah will. Jes' giv' me de numbah 
ob her apahtment an' ah'll have her heah in no 
time 'tall. 

Rose — 467 West 58th Street. 

Amy — Does you all want me to go right dis 
minute.^ 

Rose — Yes. Have you anything else to do.!* 

Amy — Well, I aint got de dinna all ready yit — 
'sides, ah don't like to leave you alone heah. 

Rose — That's right. I don't like to be left 
alone — now. {Looking at dress critically.) Per- 
haps I can fix it myself, Amy. You know I can 
sew pretty well, and I'm learning to do so better, 
every day. 

Amy — Yas'em, ah knows. You suah does do 
ev'ting you tries, mighty hahd. Ah nevah did 
see a lady what studied more books dan you do. 
{Laughs.) Mah goodness! Ef ah had de larnin' you 
have, ah'd suah set mahself up as a school-teacher. 

Rose — {Smiles.) Well, you see. Amy, when 
I came to New York three years ago, I didn't 
know very much, and I've had to learn to keep 
up with the rest of the people here. I've had 
to do it all myself, too, because — ^well, I was 
ashamed to let any one know how ignorant I 
really was. 

Amy — Yas'em. Ah feels dat a way mahself 
sometimes, but ah's nevah ashamed of mahself — 



ACT II 35 

no sah! Why, dey tells me ah speaks de English 
langwidge de bestus' of any of dem chillens of mah 
moth'ahs. Yas, sah! Ah's some Englisher, ah is. 

Rose — (Smiles.) Yes, you do speak the lan- 
guage very well indeed. Amy. Has Mr. Knowles 
telephoned to say what time he was coming home.^ 

Amy — No, ma'am, he aint. 

Rose — Oh, well, he will be home early to-night 
— I know that. There is so much to happen 
to-night. Amy. Oh, I wish I could tell you all 
about it. I'm so happy! This is the third 
anniversary of my marriage. 

Amy — My, my! Is dat so.? Well, well — no 
one would evah believe dat you been done married 
foh dat long. Why, you all don't look like moah 
dan a little gal yit. 

Rose — Well, I'm not very old, Amy. 

Amy — (Goes to door leading to hall.) Ah thinks 
ah heah Mr. Knowles a comin'. 

Rose — Oh, I don't want to see him now. I 
want to be all dressed up before he sees me, 
{Picks up dress quickly and starts for door.) 
You'd better go into the kitchen and finish the 
dinner and I'll try and fix the dress. If I can't, 
I'll let you know, and you can run over to the 
dressmaker's house quickly. Don't say anything 
to Mr. Knowles about the new dress, I want to 
surprise him. {Exits quickly.) 



36 BIRDS OF A FEATHER 

(Amy gathers up box quickly and leaves the room 
on the other side of the stage. 

The noise of a key is heard in the door. After a 
moment, enter Howard Knozvles. He looks very 
nervous. Comes in very quietly, makes sure there 
is no one there; looks around, sees the decorations 
Rose has placed about the room, looks puzzled. 
Goes over, listens at Rose''s door, then crosses to door 
leading to kitchen, listens there. Satisfied that he 
will he alone, he takes off coat, throws it on chair 
near the door, goes to writing desk, sits down, takes 
revolver from his pocket, lays it on the desk in front 
of him, then takes wallet from his pocket. Hastily 
counts the large amount of yellow-backed bills it 
contains, smiles. Goes to room on opposite side of 
stage to where Rose made her exit, goes quickly in 
and returns with a suit case and numerous clothes, 
which he hurriedly packs in it. All through this 
he is listening carefully for the least sound. When 
the suit case is packed, he puts on his overcoat, takes 
up suit case and starts for door. Just as he reaches 
door, the telephone bell rings. He stops, listens, and 
then quickly crosses and takes receiver off the hook. 
Holds it to ear, and, in reply to what is evidently said, 
snaps his fingers several times. 

He then hangs up the receiver very quietly, 
starts to pick up dress suit case again, and as he does 
so, there is a low knock on the door leading to the hall. 



ACT II 37 

He drops the suit case^ crosses quickly to door, taking 
revolver out of his pocket as he does so. After 
listening for a moment, the knock is repeated, a 
little hit louder. Then a voice is heard — softly.) 

Voice — {Outside door.) Howard — let me in. 
It's Alice. 

Howard — {Shows his annoyance, but thrusts 
revolver in his pocket—speaks through the door, 
softly.) I'll see you outside. 

Alice — {Pounding on door this time, and speak- 
ing louder.) No — no! I must get inside — quick! 

Howard — Wait a moment. {Quickly crosses 
to Rose's door, listens, hears nothing; returns to hall 
door and opens it.) 

Alice — {Enters, holding open telegram.) 
Howard! What do you mean by this.? {Indi- 
cating telegram.) 

Howard — Ssh! What's the matter.? I ex- 
plained everything. 

Alice — What's the matter with you.? There 
was a matinee this afternoon, and I only got this 
telegram an hour ago. What do you mean by 
this.? {Indicating telegram.) "I am going away 
indefinitely — will write later." 

Howard — Isn't the telegram plain enough.? 
How did you find this place? 

Alice — I went to your office and found it 
closed, but the janitor told me where you lived. 



38 BIRDS OF A FEATHER 

Say, what are you trying to do — throw me 
down ? 

Howard — Why, no, dear. I've simply got to 
get away on imperative business. 

Alice — Business! {Her voice rises.) 

Howard — Ssh ! 

Rose — {Offstage.) Amy! 

Amy — {Off stage.) Yas, ma'am. 

Rose — You'd better go over to Mrs. Smith's and 
tell her I simply must have her over here to-night. 
I can't fix this. 

Amy — Yas, ma'am. You all tell Mr. Knowles 
he'll have to wait a few minutes foh his dinna. 

Rose — {Laughing.) All right, I will. Mr. 
Knowles won't mind. Hurry. 

{The door is heard to slam off stage ^ then some one 
is he rd running doivn the hall., the door is heard to 
open and Rose calls.) 

Rose — Wait a minute. Amy. I'm going down 
to see Mrs. Archer a moment. {The door is heard 
to shut again, and there is silence. During this, 
Howard has grasped Alice by the wrists and is 
holding her absolutely quiet. She glares at him as 
the door closes.) 

Alice — So! Keepin' another flat, are you.^ 
That's the reason you wanted to get away, is it? 

Howard — Now, don't be silly. It's because I 
am keeping another flat that I'm doing what I am. 



ACT II 39 

I've wanted to break away for a long time, ever 
since I knew you. I've made a raise, but in 
doing so, I've got myself into trouble. I've 
simply got to get away from here. 

Alice — I think you're a liar. {Passionately 
throwing her arms about his neck.) Oh, Howard! 
Who is it that is dearer to you than I.^ 

Howard — No one, I tell you. {Pushing her 
away from him and looking at watch.) Look here, 
Alice, can't you understand I've got to get away 
from here before any one comes back ? 

Alice — What — and leave me.^ No, no, sweet- 
heart. You must not. Why, I've been every- 
thing to you, even wife, except in name. My life 
without you would be like an unlighted candle. 
Be my match and I'll burn my life out for you. 

Howard — Oh, I know all about that. But 
I've got to get away. I tell you, if I stay here, 
I'll go to prison. 

Alice — {Backing away, surprised.) To prison! 

Howard — Yes, and for five or ten years. 

Alice — My God! What have you done.^ 

Howard — I got a chance at fifty thousand 
dollars to-day, from a wealthy client, and took it. 
If he catches on to the fact that I'm gone, it's all 
off. I've got to get away to-night. I can't 
take you with me, but I can send for you in a 
little while. 



40 BIRDS OF A FEATHER 

Alice — Not on your life. I'm going with you. 

Howard — You say you love me. — I want to 
see how much you love me. {Putting his arms 
about her.) If you love me, you trust me — if you 
don't trust me, you don't love me. Will you 
stand by me.? 

Alice — I've told you I would, and to prove it, 
I'm going with you. In this kind of a game, a 
woman can do so much. 

Howard — A woman is useless when she's 
cornered. I can't take any chances on having 
you go all to pieces if we're caught. 

Alice — Oh, slush! In my profession I am 
rated as an artistic dancer. Three years ago I 
took a run at the legit., as you know. That's 
what took me up to Lake George, where I met 
you. I wanted to study some of the local 
characters. I studied one — one that you knew, 
too. You talk about a woman going to pieces 
when she's cornered. Ha! It is to laugh! Do 
you remember little Rose Noble.? 

Howard — (Starts and looks quickly at her.) 
Rose Noble — of course I do. 

Alice — You were rather sweet on her, weren't 
you .? 

Howard — Nonsense ! 

Alice — I suppose you thought, like all the 



ACT II 41 

others, that she was just a sweet little innocent 
country maid — ^didn't you? 

Howard — I don't know that I ever really 
thought of her. 

Alice — 'Don't lie to me, Howard! Well, never 
mind. She gave me the scare of my life one night. 

Howard — How so.^ 

Alice — Do you remember the night they were 
looking for that hotel thief .^ 

Howard — Of course I do. 

Alice — Well, just to show you that all women — 
even innocent ones — ^or those that people think 
are innocent — don't go to pieces, as you express it, 
I'll tell you what she did. When the detectives 
and the posse were looking for the thief — her 
lover — she hid him in her bed, and he escaped. 

Howard — {Startled.) How do you know.? 

Alice — I saw him. 

Howard — You did? 

Alice — I did. She had him shut up in her 
folding bed, and when he got almost smothered, 
the bed fell open, and he rolled out on the floor. 

Howard — {With deep feeling.) Well, I'll be 
damned! 

Alice — Surprises you, don't it? Now, if I 
haven't got as much courage as this Rose Noble, 
I'll eat my shirt, and — I'm going with you! 



42 BIRDS OF A FEATHER 

Howard — {Quickly.) You can't. You've 
nothing ready. 

Alice — Now, don't you worry about that. 
With fifty thousand dollars in your kick, I guess 
you can get what I need at the first stop. Just 
give me time to pack my grip, and I'll meet you at 
the station. But don't try to get away without 
me, 'cause if you do, I'll have the police on your 
track before you can even get from here to the 
train. 

Howard — {Making up his mind.) All right. 
Meet me at the Pennsylvania Station at eleven- 
thirty to-night, and we'll start. {Looking at 
watch.) It's just eight now — that'll give you 
plenty of time to go and get your things ready. 
But — keep your mouth shut. 

Alice — All right. {The outer door is heard to 
open and close. Rose is heard singing.) 

Howard — {To Alice.) Quick! Get out this 
way. {Takes her quickly to door, opens it, pushes 
her outside and closes door after her. After a mo- 
ment. Rose enters, sees Howard standing near door 
with his coat on.) 

Rose — {Going towards him.) Oh, Howard, 
I'm so glad you've come. You're awfully late, 
but {with a laugh) perhaps it's just as well, for 
dinner is late, too. {Putting her arms about 



ACT II 43 

him.) I wanted to surprise you with something, 
but I guess I can't now. 

Howard — (Coldly pushing her away.) Oh, 
stop all this foolishness, Rose. 

Rose — Why, Howard! {Tenderly.) What's 
the matter, dear.'' Tired .^ Well, we'll have an 
evening all to ourselves to-night. You haven't 
forgotten what to-night means to me, have yoxil 

Howard — I know what it means to me if I 
don't get away from here pretty soon. 

Rose — {Disappointed.) What.^ Going out 
again to-night.^ Oh, Howard, no. Surely, dear, 
you won't leave me alone to-night! 

Howard — What's to-night got to do with it.? 

Rose — Why, dear, to-night is our third anni- 
versary — the night we were to have such a good 
time. The night you were to acknowledge 
before all the world that I was your wife. 

Howard — {Coldly.) What if I've changed my 
mind.? 

Rose — {Laughing.) Oh, you could hardly do 
that, Howard. I am your wife, you know. 

Howard — Could you prove it.? 

Rose — Prove it.? {Nervously.) Why — why — 
I suppose I could if I had to, but — {looking 

closely at him) but Why, what is the matter 

with you to-night, Howard.? You have never 
acted like this before.? 



44 BIRDS OF A FEATHER 

Howard — Well, I never knew some of the 
things before that I learned to-day. You're a 
nice one, you are. Passing yourself off as a 
nice, sweet child — ^taking me in — ^me — of all 
people in the world. This is one time in my life 
that I got stung good. You! The innocent 
mountain maid. You! The sweet, little girl 
that all the neighbors thought so pure and un- 
protected. You! Taking in an old hand like me. 
(Laughs sarcastically.) You're all right, little one. 
I guess you can take care of yourself when I'm 
gone. 

Rose — {Who has been listening in amazement 
to this tirade.) Howard! What on earth are 
you talking about. ^ 

Howard — Oh, that's right, play the innocent 
girl some more. It's a good thing for me that I 
didn't marry you 

Rose — {Interrupting.) Didn't marry me.^ 
What do you mean.^ 

Howard — I mean just what I say. You are 
not married to me! 

Rose — {Not realizing he is in earnest^ laughs 
nervously.) You — you — you are in such a strange 
mood to-night, Howard. I never knew you to 
joke like this before. 

Howard — Oh, you think it's a joke, do you.? 

Rose — {Seriously.) Why, what else could it 



ACT II 45 

be? We were married three years ago to-night, 
and we were to wait until this time before we 
would let any one know of it. Why, you signed a 
paper in which you stated this was to be the case. 

Howard — {Sneeringly.) Oh, I did, did I.-* 
Did you read the paper you signed.? 

Rose — ^Of course I didn't. I trusted you. 

Howard — Have you got a marriage certificate 
to prove that we were married."^ 

Rose — {At last becoming frightened.) Howard! 
Stop! I don't like these kind of jokes. You 
know I haven't any certificate • 

Howard — Of course you haven't. There 
wasn't any. We were not married three years 
ago to-night. We were never married! That 
ceremony we went through was just one to satisfy 
a very foolish little girl — or what I thought was 
a very innocent little girl. The man who per- 
formed the so-called ceremony was a friend of 
mine, used for that occasion only. 

Rose — {Looking at him in horror.) My God! 

Howard — The paper you signed had nothing 
to do with a promise of marriage. 

Rose — Oh! Don't say these things, Howard! 
You don't know — you don't know what you are 
saying. We are married, dear — say it, please 
say it! You don't know what it means to me. 
Can't you see what has happened.? {Going 



46 BIRDS OF A FEATHER 

to work-basket quickly^ and getting out a little white 
dress — holds it up.) 

Howard— What's that? 

Rose — Can't you see? Can't you understand 
we must be married! Oh, Howard! Say that 
you don't mean all you've been saying to me 
to-night. 

Howard — {At last recognizing that it is a baby^s 
dress she is holding up for his inspection — looks 
at her coldly.) Who's the father? 

Rose — {Almost fainting at the insult, but with 
indignation.) Howard! {In tears.) Oh, I've been 
counting on the happiness this little soul would 

bring to us both! And now — now {Breaks 

down entirely.) 

Howard — Now — now — what? You've taken 
me in just as badly as I've taken you in. What 
about your other — lover? 

Rose — Other lover? What do you mean? 

Howard — How about the man you had con- 
cealed in your bed — three years ago to-night? 

Rose — Man — bed — three years ago 

Howard — Oh, don't try to play the innocent 
kid any longer. I know all about it. I know 
that you concealed your crook lover from the 
men who were hunting him, the very night you 
and I left the Black Mountain. I know the 
only reason you came with me so willingly was 



ACT II 47 

to be near him here in New York. Don't tell 
me I haven't been taken in. I know better. 
I was going away to-night, but I was going to see 
that you were taken care of while I was gone; 
but by God — your lover, the father of your 
baby — can take care of you now. If he will! 

Rose — (Furious.) Stop! You know, deep 
down in your own heart, there is not a word of 
truth in anything you have said. You know I 
have been as true a wife to you as any woman 
could be to a man. If you have deceived me, 
as you say you have, you have done something 
that God will punish you for when His time 
comes. There has been no other man, and you 
know It. I don't know what your object is in 
all this — but I do know you must have some plan 
in your filthy mind to make you act in this 
manner. If it Is your will to leave me, do so, but 
do not dare carry your insults any further, or, 
so help me God, I'll kill you where you stand — 
with my bare hands, if I must. (He starts to say 
something.) No — you've had your say — it's my 
turn now. There was a man in my cabin the 
night you speak of — a poor hunted creature 
looking for protection from a mob of maddened 
men. I did conceal him In my bed, because 
there was no other place for him to hide. There 
was but one person who knew of this besides 



48 BIRDS OF A FEATHER 

myself — a woman who came there to warn me 
against you — because she wanted you herself, 
perhaps. That man I have never seen since — 
and you know it. That man has never entered 
my life — had never entered my life, but com- 
pared to you — thief though he was — he was a 
nobleman. What the paper was that I signed, 
I know not, nor care not, I only know I have 
trusted you as only a woman can trust the man she 
loves. / have not proved unworthy — you have — 
and if there is justice in this world, my worthiness 
will be proven and yours will be punished. You 
have given me a place to live and have fooled me 
into believing you were giving me affection to go 
with it. You try to make me suffer for your 
sins — well and good. I will suffer my shame 
alone — not with you. What you have given me, 
I will give back to you. You may go where you 
will, so will I. You may do as you will — so 
will I. From this time on I am not your wife — 
even though I believe you lie when you say we are 
not married. Go your way — I'll go mine — ^and 
may our paths never cross again. (Goes to door 
of her room.) 

Howard — (Picking up suit case.) I'll take you 
at your word — Mistress ! (Exit.) 

Rose — (Half fainting against door of her room.) 
Howard ! (Amy enters.) 



ACT II 49 

Amy — She am comin' ovah in jes' a little while 
— {Notices Rosens condition.) Ma Gawd, 



chile! Wot's de mattah? 

Rose — {Regaining control of herself.) Amy, 
go into my writing desk and get me a little red 
book you will find there. Bring it here. 

Amy — Yas'm. {Exits quickly, returning at once 
with book.) Is dis it.^* 

Rose — {Taking book.) Yes. {Opens it, takes 
out a little piece of crumpled paper, gives it to Amy.) 
Do you know where that street is, Amy.^ 

Amy — {Opening paper and reads.) Jimmie 
Saunders, 23 Rivington Street, New York. 
Yas'm, ah does. It's away down on de Eas' side. 

Rose — {Firmly.) Pack me a few things in my 
satchel. I'm going away. 

Amy — Goin' away.? Mah goodness! Whuffo.? 

Rose — And I won't be back. 

Amy — {More and more amazed.) Look heah, 
woman. Is you crazy? 

Rose — Not yet — but I would be if I stayed 
here. {Breaking down.) Oh, my God! About 
to become a mother — deserted — alone — deceived! 
{Sinks down on the floor in a wild abandon of tears. 
Amy stands above her, perfectly amazed.) 
CURTAIN 



ACT III 

Scene — A handsomely furnished room in a side- 
street hotel in the Times Square district^ New York. 
The entire place has an atmosphere of the theatre. 
There are several trunks, partially packed, around 
the room. There is a ^^ Three Sheet'^ on the back 
wall showing a figure in Orie7ital costume, and posed 
as for dancing. Photographs of celebrities of the 
theatrical world adorn the mantelpiece and walls. 

Time — Three years after the second act. 

Discovered — The stage is empty. After a moment 
the door opens and Alice Winslow enters. She is 
dressed in street costume. She looks about the 
disordered room, makes a movement of anger, and 
calls: 

Alice — ^Amy! Amy! 

Amy — {Enters slowly from bedroom door.) 
Yas'm. Heah I is. 

Alice — Why haven't you picked up this room? 
I never saw such a looking place in my life. 
What do you suppose I hired you for, if not to look 
after my things a little bit! You know these 
trunks have to go to the theatre to-night — dress 
rehearsal to-morrow, and not a thing ready! 
50 



ACT III 51 

Amy — You all done tol' me not to finish packing 
until dat udder dress come. 

Alice — Hasn't that got here yet? 

Amy — No, ma'am, hit aint. 

Alice — That's what I get for giving my work 
out to a bum costume concern. Call 'em up and 
ask 'em why it aint here. No, wait a moment, 
and help me get out of these things of mine. 
{Starts to take off outer wraps.) Get me my 
kimono — the red one — and the slippers to match. 
Gee, I'm tired, believe me. {Sits down, taking 
off gloves.) Any messages.? 

Amy — One telephone message. A Mister — 
Mister — Reynolds called up. 

Alice — {Eagerly.) He did.? What did he 
want.? 

Amy — Done sed he wanted to see you all. 
Said to be sure and tell you he was a-goin' back 
to Chicago to-night and wanted to see you before 
he left. Sed he'd call you up a little latah and 
talk to you all his se'f. 

Alice — Well, I wouldn't miss him for a good 
deal. He's that Chicago manager I've been 
talking about. Wants me to go out there and 
open a new theatre he's interested in. Says if I 
make good he'll see that I have a company of my 
own on the Columbia time. {Jmy is removing 
her shoes and puts on slippers.) Ha! Wonder 



52 BIRDS OF A FEATHER 

what old Howard would say if he knew I was 
goin' to be a star! (Rises and goes behind screen, 
puts on kimono, talking all the time.) Gee, Amy, 
talk about a man going to the bad! Suffering 
cats! He was the limit — never could quit drink- 
ing long enough to give himself a chance to get a 
thirst. (Coming out from behind the screen and 
seating herself in front of dressing table.) He was 
a good spender, I'll say that for him. (Laughs.) 
Amy, when I get a good spender around, I can 
certainly show him more places to leave money 
than any woman I know. (Takes of pearl 
necklace.) See this.? That's one of his presents. 
It's real stuff, too. Cost him a small part of his 
fifty thousand, believe me. 

Amy — (Admiring necklace.) My, my! Ah al- 
was done thought those was imitations. 

Alice — Not on your life! The real things! I 
aint got many real things, so I take mighty good 
care of what I have got. 

Amy — While I was cleanin' out one o' dem 
trunks dis aftahnoon, ah cum across a bundle o' 
papahs dat was mahked Howard Knowles. 
Heah dey is. (Hands papers to Alice.) 

Alice — (Takes them, looks carelessly at them 
and throws them down on the table.) I guess they 
aint anything important. If they was, he'd 
never have left 'em with me. Gee, I haven't 



ACT III S3 

seen him since I shook him in London. He got. 
too much for me. You can burn 'em to-morrow. 
{Telephone bell rings. Amy answers it.) 

Amy — Yas. Who is dis.^ {Turning to Alice.) 
Mistah Reynolds is callin'. 

Alice — {Making a rush for the ^phone.) Let 
me at him. {Softly into ^phone.) Hello. Yes. 
Why, of course. How soon can you come.^ Yes, 
I'll see you sure. In fifteen minutes.? Come 
right up in the elevator. All right. Good-bye. 
{Hangs up receiver — to Amy:) Come on, kid, 
make a general hustle. I want to look like the 
Queen of Sheba in just ten minutes. {Seats 
herself in front of glass., and Amy does her hair. ) 

Amy — I uster to know a Mr. Howard Knowles. 

Alice — {Not paying much attention to her.) 
That so.? When? 

Amy — 'Bout tree yeahs ergo. Ah used to wuk 
foh him an' he's wife. 

Alice — Go on — he never had a wife. 

Amy — He suah did. An' he had a baby, too — 
but he nevah did see it. 

Alice — {Laughs coarsely.) That wasn't his 
baby any more than the woman was his wife. 

Amy — {Indignantly.) Don' you s'pose ah 
knows what ah's talkin' about.? You all don' 
suppose ah'd a wuked foh a lady an' huh husban' 
dat wuzn't married.? No suh! Ah wuz decent 



54 BIRDS OF A FEATHER 

den. Dat man dun run off wid some woman an' 
lef dat poh ll'l gal all alone. She des pulled out 
of dat house dat same night. 

Alice — How do you know she had a baby.'* 

Amy — Mah Gawd, woman, don' you s'pose 
ah knows de symptons.^ 'Sides, ah met huh on 
de street a while back. She wuz looking putty 
bad, too. She done tol' me de baby died. {Dur- 
ing this conversation Alice is dressing in evening 
dress, placing the necklace around her neck the last 
thing.) 

Alice — Did she tell you where she was living.? 

Amy — No, ma'am. She didn't. She did tell 
me dat she was a makin' dresses foh a livin' — 
but ah reckon she wasn't makin' many f'om de 
looks of her. {Telephone rings. Amy answers 

it.) 

Amy — De office says dat Mr. Reynolds is 
a-comin' up. 

Alice — ^All right. Clear up some of this mess 
and then go down and telephone the costumers 
that the dress hasn't come. 

{Buzzer of door is heard. Amy Picks up bundle 
of clothes and dashes for the next room. Alice goes 
to door and opens it.) 

Alice — Come on right in, Mr. Reynolds. I'm 
so glad to see you. It was mighty nice of you to 
call before leaving for Chicago. {Enter Jimmie 



ACT III 55 

Saunders, dressed in the height of fashion, and 
posing as Reynolds.) 

Reynolds — {Shaking her hand.) It's awfully 
good of you to see me, after your day of hard 
work. I couldn't resist once more talking to you. 

Alice — Oh, we're good friends enough for an 
evening call, I guess. Let me take your hat and 
coat. 

Saunders — Thanks. {Removes coat, which she 
takes and places on couch near door.) 

Alice — Will you have a drink.? 

Saunders — Well, for friendship's sake — yes. 

Alice — {Pours out whiskey — seltzer — gives it to 
him.) Here's to our health and happiness! 
{After pouring herself out a drink.) 

Saunders — {Touching her glass with his.) 
Prosit! {Both drink.) 

Alice — ( Takes empty glasses — puts them on table.) 
Have you decided when your theatre is to 
open .? 

Saunders — That's one of the things I wanted 
to talk to you about. {Looking about.) You 
have nice quarters here. 

Alice — Oh, yes — they're nice and quiet — and 
the office never bothers any of the guests. {Sig- 
nificantly.) 

Saunders — You look as if you were going away. 

Alice — No, just getting ready for the rehearsal 



56 BIRDS OF A FEATHER 

to-morrow. Say, If this thing turns out a 
failure — you'll have to give me a job sure. 

Saunders — If this thing turns out a failure, 
we'll open our new theatre with a company headed 
by you. How's that.-^ 

Alice — Sounds pretty good to me. 

Saunders — I want to get some stuff ready for 
our press department, so I'm going to interview 
you {laughingly) like a real reporter. You don't 
mind .^ 

Alice — Mind.^ Not on your life. Can you do it.^ 

Saunders — Well, I guess. When I was a 
little bit younger, I was on the staff of one of the 
leading papers of the country. {Business with 
notebook.) Are you married.^ 

Alice — Well — I was — once. 

Saunders — Do you consider yourself pretty.^ 

Alice — ^That's a question only my friends can 
answer. What do you think.? 

Saunders — {Looking at her, then writing and 
reading aloud as he writes.) Hair, red as a 
smoky sun shimmering on a placid lake and 
sinking in its bosom; eyes that flash from violet 
to green-gray, and from innocence to coquetry, 
dazzling and bewitching with their limpidness; 
skin as blue-white as frozen milk, and with the 
freshness of babyhood; and a body as straight 
and majestic as a pine; lithe as hot swamp grass 



ACT III 57 

in an August wind — in fact, she's a dream of love- 
liness, so wonderful one would desire to sleep 
forever rather than awaken to realize it was but a 
dream 

Alice — Say — you're some writer, and the 
funny thing about it is — you seem to know what 
you're talking about. If I wasn't a lady, I'd let 
you kiss me for that. 

Saunders — Well, of course 

Alice — {Going towards him.) You know, some- 
times, we ladies forget our bringing up and 

Saunders — {Taking her in his arms.) And — 
{kisses her) and — don't regret it, eh.^ 

Alice — {With her arms about his neck, seated on 
his knee.) Well, that depends upon the other 
person, you know. 

Saunders — Well, if I'm the other person re- 
ferred to, you won't regret it, believe me. {Taking 
notebook up again — she still sitting on his knee.) 
Got a lot of costumes.? 

Alice — Five trunks full. 

Saunders — Not enough — you must have at 
least thirty. 

Alice — Good Lord! What for.? 

Saunders — Just for the advertising man to 
talk about. 

Alice — Not a bad idea. 

Saunders — Got any special stuff 



58 BIRDS OF A FEATHER 

Alice — What d'ye mean? 

Saunders — ^Oh, for example — one of the other 
leading dancers is having designs in oil, painted 
on her bare legs 

Alice — Who is it? 

Saunders — Gertrude Hoffman. 

Alice — {Sarcastically.) There'll be no room 
for the paint. Gee, look at the way that dame 
went up — why, just a few years ago she was in 
the same chorus with me! 

Saunders — Well, cheer up — you're both out 
of it. {With apparent indifference.) Ever been 
robbed of your jewels? 

Alice — Not yet — but I have hopes. {Laughs.) 

Saunders — Well, perhaps we can help you. 
{Laughs.) 

Alice — I've got enough of 'em — use 'em in my 
dances. 

Saunders — Oh, I don't mean that phony stuff. 
I'm talking about the real. 

Alice — ■{Indignantly.) Well, now, don't think 
I've never had any real. Here! {Indicating.) 
This necklace of pearls is worth real money. 
How do I know? Ha! Bought 'em myself 
with the money 

Saunders — With what money? 

Alice — Never mind — they're genuine enough 



ACT III 59 

for any press agent's stunt — only — no press 
agent or any one else is ever going to get near 
enough to them to do that robbery act. 

Saunders — {Bending over and admiring jewels.) 
They certainly are fine ones, all right. 

Alice — They sure are. I wouldn't have 'em, 
if they weren't. 

Saunders — Oh, they'll do well enough for the 
old jewel-robbery story. We'll work it up in 
good shape. We'll say they were given to you by 
King So-and-So who fell in love with your classic 
charms and 

Alice — {Laughing.) Oh, I say! You sure 
are all right, all right! 

Saunders — And if he didn't marry you 

Alice — What.? 

Saunders — By all laws he should have done so. 

Alice — Say, that's some hot stuif ! 

Saunders — Well, you know in these days, we 
have to have things spicy. 

Alice — {Fondling pearls.) A robber would 
make a good haul here, if he knew the truth; but 
who on earth would ever expect an actress to have 
real jewels? {Saunders eying the necklace hun- 
grily. Amy enters.) 

Amy — 'Scuse me. Miss, for 'ruptin', but ah 
can't get reply out o' de costumers yo' all tol' me 
to call up. 



60 BIRDS OF A FEATHER 

Alice — What's the matter? 

Amy — Ah dunno. Deyjes' don' answer, dat*s all. 

Alice — Well, get on your things and run 
around and see them. Tell 'em that thing must 
be delivered here to-night. 

Amy — Yas'm. {Exit.) 

Alice — Darn these people anyway! Never on 
time with anything. I'll bet they never get 
another job from me. 

Saunders — {Looking around.) You seem to 
have all the comforts of a home here — telephone, 
electric light. 

Alice — Well, why not — I pay enough for the 
place. 

Saunders — {Taking out cigarette case.) Do 
you mind if I smoke .^ 

Alice — I should say not. I'll have one myself. 
You'll find the matches on the table. 

Saunders — {Going to table, picks up box of 
matches and hides it in his pocket.) I can't seem 
to see any. 

Alice — I'll bet that darned girl has forgotten 
them again. Wait a minute. I'll get some in 
the other room. {Exits quickly.) 

{As soon as she has lefi, Saunders takes pliers 
out of pocket and quickly disconnects telephone 
wires, hiding ends so they cannot be seen.) 



ACT III 61 

Alice — {Re-enters.) Here we are. {Lights 
match, holds it to his cigarette, then lights her own.) 

Saunders — {Seats himself on sofa and pulls 
her down beside him.) We might as well be 
comfortable while we finish our chat. 

Alice — I'm willing. 

Saunders — Before I go, I want to sign con- 
tracts with you — merely optional ones, you 
understand — in case the new play fails. IVe 
got some all ready in my pocket. {He slyly 
slips clasp of necklace, so that when she gets up it 
will fall to the floor.) 

Alice — Yes, — all right — but what about 
salary.? 

Saunders — Anything within reason — and your 
name in big letters all over the place. 

Alice — Three hundred a week — and traveling 
expenses. 

Saunders — You're on . {Rises, crosses to table — 
she follows him — the necklace drops to floor.) Put 
your name to these. {Pulls papers out of pocket,) 

Alice — Not without reading them — no, sir. 
I was caught once and had to buy shoes, slippers 
and tights. 

Saunders — {Drops his handkerchief and picks 
up necklace with it.) Oh, all right — look 'em over 
to-night, insert the salary and then mail 'em to 
me to-morrow. I'll be already for them in 



62 BIRDS OF A FEATHER 

Chicago. Send them to the Princess Theatre. 
{Looks at watch.) 

Alice — You haven't got to go so soon, have 
you? 

Saunders — ^Just time to catch the train. 

Alice — {Gets his coat.) I'm sorry. I thought 
you would stay all evening. {As her back is 
turned^ he pockets bundle of papers that Amy has 
laid there early in the act.) 

Saunders — When I get back from Chicago, 
I'll stay as long as you like. 

Alice — {Helping him on with his coat.) All 
right, Mister man. If you're as good as you 
look, we'll have some times together. 

Saunders — {Putting his arm around her.) 
You don't mind me kissing you good-bye.'' 

Alice — Good Lord, man — no — I like it. 

{Kisses him heartily.) 

Saunders — Be sure and send contracts to- 
morrow. {Exits.) 

{After he has gone, Alice goes to table, lights 
fresh cigarette and seats herself near table, placing 
her feet on it. After a moment, there is a knock at 
the door. She listens a moment, then rises with a 
pleased look, opens door. Howard Knowles enters 
quickly, closing and locking door quickly behind 
him.) 

Alice — YovJ 



ACT III 63 

Knowles — Yes, me. Glad to see me, aren't 
you — not 1 

Alice — Where did you come from? 

Knowles — Now that's a nice welcome for a 
hungry lover. 

Alice — What do you want? 

Knowles — Well, first of all, I want a kiss. 
{Attempts to embrace her.) 

Alice — {Evading him.) Not on your life. I 
told you in London, when I left you, I was 
through with you for good. 

Knowles — I know you did, but I didn't tell 
you I was through with you. 

Alice — How did you ever dare to come back 
to New York? If the police get onto you, you'll 
get four or five years — or more — for the old game. 

Knowles — Yes, but the police aren't going to 
get onto me. Oh, you don't dare let on I'm here, 
for as sure as I'm sent up, you'll go with me. You 
had your share of the loot all right — you're an 
accomplice. 

Alice — What do you want? Money? 

Knowles — You bet. 

Alice — How much ? 

Knowles — Well, a thousand will do right now. 

Alice — You're crazy! Where would I get a 
thousand dollars? 



64 BIRDS OF A FEATHER 

Knowles — From the new lover — the one who 
just left here. Play him for a sucker — just as 
you did me. 

Alice — Not much. He's nothing to me. He's 
a theatrical manager looking for a new face to 
feature. 

Knowles — Sell the pearls you bought with 
my five thousand. 

Alice — {Instinctively putting hand to throat.) 
Not much! {Frightened pause — in whisper.) 
My God! Where are they — I had 'em on. 
{Hastily looks about on floor, on couch, etc.) 

Knowles — Come on — none of that comedy 
business — no bluff — you know where they are 
all right. 

Alice — {Paying no attention to him.) I tell you 
I had 'em on not ten minutes ago. {Looks at 
him angrily.) You dirty dog! You stole them 
off my neck when you tried to kiss me. Give 
'em back or 

Knowles — Give them back! {Angrily.) Look 
here — what do you think I am, a baby? Those 
hard-luck tales don't go with me. I might have 
been easy several years — but no more. I haven't 
seen your pearls. 

Alice — You lie! Give 'em up or I'll call the 
police. {Starts for ^ phone.) 

Knowles — {Stops her forcibly, knocking the 



ACT III 65 

end of the cut wires to floor as he does so.) Don't 
you do it, you devil! 

Alice — {Seeing cut wires.) My God! I see 
your game, you coward! {Throws piece of 
bric-a-brac through the window.) 

Knowles — {Grabs her arm just too late^ and 
swings her around^ away from window.) If that 
brings anybody up here, and you squeal, I'll 
choke the life out of you. {Grasping her throat.) 
Are you going to give me away ? 

Alice — {Faintly.) No. 

{There is a knock at the door. They both stand 
absolutely silent. Knowles points revolver at door. 
A louder and more insistent knock is heard. Knowles 
looks around quickly., sees portieres leading to next 
room — motions for her to reply. He sneaks over 
quietly toward portieres.) 

Alice — Well — what is it.? 

Officer Flannagan — {Outside.) Lemme in. 

Alice — I'm not dressed yet. Wait a moment. 

Knowles — {In a zvhisper.) I'm going to hide 
here — if you squeal, I'll do you first and him 
afterwards. {Hides behind curtains.) 

Flannagan — {Pounding on door with his club.) 
Open the door or I'll bust it in! 

Alice — {Hastily throws a dressing gown over 
her dress and goes to door, throwing it open.) 
Come in. 



66 BIRDS OF A FEATHER 

Flannagan — {Enters, revolver in hand.) What's 
the matter? 

Alice — {Hesitates.) Why — nothing — now. 

Flannagan — Well, what was the matter? 

Alice — Some one stole some of my jewels. 
{Pointing to telephone.) When I tried to call up 
the office, I found the wires had been cut. 

Flannagan — {Looking at 'phone,) Clever 
work — a getaway. 

Alice — What's a "getaway"? 

Flannagan — The work of a slippery profes- 
sional who makes his plans to get away before he 
starts his job. {Looks around the room.) Which 
way did he go? 

Alice — Who? 

Flannagan — Why, the feller that stole the 
stuff. 

Alice — I don't know who stole it. 

Flannagan — Well, Til search the place. 

Alice — No need of that. I've been all through 
the rooms since I missed them. 

Flannagan — What'd he get? 

Alice — A string of pearls — worth about five 
thousand dollars. 

Flannagan — Whew! Where were you when 
you missed 'em? 

Alice — Right in this room. I was talking 
to 



^ 



ACT III 67 

Flannagan — Oh, you've had visitors, eh? 
Who was It? 

Alice — {Nervotisly — seeing the curtains move a 
bit.) Why, a Mister Reynolds, from Chicago — 
a theatrical manager. He's too much of a 
gentleman. 

Flannagan — Gentleman? Hu! 

Alice — (Indignantly,) I tell you It couldn't 
have been him. He was admiring the necklace 
just before he went away. 

Flannagan — Did you miss 'em right after he 
went ? 

Alice — Not right away — I missed 'em while I 
was talking to 

Flannagan — To who? 

Alice — (Seeing curtains move again.) To my 
maid. 

Flannagan — Oh, the maid, eh? Wher's she? 

Alice — Gone out on an errand. She'll be back 
pretty soon. 

Flannagan — Where'd ye meet this — manager 
gentleman ? 

Alice — Down In one of the theatrical managers' 
offices. I was just coming out and he was 
passing through the hall. We bumped into each 
other — he apologized and — well — after some con- 
versation we went to dinner together, and he's 
seen me several times since. 



68 BIRDS OF A FEATHER 

Flannagan — Did you wear those pearls any 
time he met you? 

Alice — Always. Vm never without them. 
They're good advertising. 

Flannagan — How do you know he's a theat- 
rical manager.^ 

Alice — Didn't he offer me a job at a big salary? 

Flannagan — Did that prove him a manager? 

Alice — (Indignantly.) Of course it did. He 
knew a good thing when he saw it. 

Flannagan — Hm! (Taking photo out of his 
pocket.) What did he look like? 

Alice — Oh — he was tall — dark — smooth-faced 
and 

Flannagan — (Handing her photograph.) Did 
he look anything like that? 

Alice — Why, yes — that's him! (Excitedly.) 
Where'd you get it? 

Flannagan — Well, you're stung good. That's 
Jimmy Saunders — gunman — one of the slickest 
thieves in the country. He studies his intended 
victim like he was goin' t' college. Can give any 
line of talk. A college graduate. First heard of 
about six years ago up on Lake George. He sure 
has been putting some stuff over lately — but we 
can't get the goods on him. He's been too slick 
for us. 

Alice — {Almost crying.) Do you mean to 



ACT III 69 

say that man's a thief? What about the con- 
tracts he left for me to sign ? 

Flannagan — Where are they? 

Alice — (Getting them from table.) Here. 
{Opens one to read — shrieks.) Oh — these aint 
contracts — they're a receipt for my pearls — he 
knew he'd get 'em when he came. {Cries.) 
Oh, what will I do — what will I do? 

Flannagan — I'll report the matter to head- 
quarters and as soon as we can find a trace of 
them, I'll let you know. {Takes out notebook.) 
What's your name? 

Alice — Alice Winslow. 

Flannagan — What's your business? 

Alice — I'm on the stage — burlesque business. 

Flannagan — Living here — alone? 

Alice — {Indignantly.) Of course — with my 
maid. 

Flannagan — How long has she been with you? 

Alice — About three months. 

Flannagan — Pearl necklace — worth about five 
thousand dollars. {Is busily looking at room and 
writing in book.) Visitor called himself Reynolds 
— theatrical manager — looks like picture of Jimmy 
Saunders — telephone wire cut — made a get- 
away. ( Turning to her.) Did you notice whether 
he wore gloves ? 



70 BIRDS OF A FEATHER 

Alice — {Thinking hard.) Why, yes, I did 
notice that he never took them oflf — why? 

Flannagan — Ha! Didn't want to leave any 
finger prints. {Writing in notebook ^ then closing 
it.) Well, I can't do any more, lady. I'll be 
going. 

Alice — Will you have a drink before you go? 

Flannagan — Well — I got a bad cough — I 
don't mind if I do. 

Alice — {Gets decanter and glass.) Help yourself. 

Flannagan — {Pouring himself out a large 
drink — holds it up to light.) Here's to you. 
{Drinks.) 

Alice — {Crying again.) Well, there's one con- 
solation — I was robbed by a gentleman anyway. 

Flannagan — Well, wouldn't that get you! 
You women are all alike. If some old bum had 
robbed you, it would have been murder — but if 
some swell guy does the trick, it's just a social 
call. Good night, lady. I hope we get track 
of them jewels. 

Alice — If you do — {Handing him money.) 
Here's a little bit on account. 

Flannagan — {Taking money.) Lady, I'm glad 
to accept your insult. {Exit.) 

{After the door is closed, Knowles comes from 
behind curtain. Laughs and throws himself in a 
chair. She stands gazing at him indignantly.) 



ACT III 71 

Knowles — (Laughing.) So, you were the 
sucker — a gentleman burglar — and you an actress. 
Ha, ha! He put one over that time. 

Alice — Don't rub it in. Now I've kept my 
word and didn't give you away, what do you 
want? 

Knowles — My wants are just the same as they 
were a few minutes ago — money. 

Alice — I haven't got much left. I'll give 
you what I can. {Opens drawer to desk and 
takes out small roll of bills.) Here's twenty-five 
dollars — that's all I can spare. If I get those 
pearls back I'll give you five hundred dollars 
— if you'll promise to go away and let me 
alone. 

Knowles — For a thousand I'd promise any- 
thing. 

Alice — Well, you won't get a thousand. 

Knowles — Oh, yes, I will. I need it. There's 
something else I need too, come to think of it. 
What did you do with that old trunk of mine we 
left in storage here .^ 

Alice — Threw it away. I had Amy clear 
everything out of it — there was nothing but a 
bunch of old clothes 

Knowles — What became of the papers that 
were in it.^ 

Alice — Oh, Amy saved something — she had 



72 BIRDS OF A FEATHER 

it here a while ago. {Looks on table for them.) 
They were here a few minutes ago. 

Knowles — Well, if they're lost, there'll be 
hell to pay. Do you know what they were? 

Alice — No, how should I .^ I never looked at 
them. 

Knowles — One of them was a real marriage 
certificate — the other a paper giving me the 
rights to as pretty a bit of oil land as you could 
ever find anywhere. 

Alice — ^A marriage certificate ! 

Knowles — Yes — ^mine and Rose Noble's. 

Alice — But you told me you weren't married 
to her. 

Knowles — Yes, I told her the same thing — 
you both believed it — but I am, just the same. 
I need money to hunt her up — I've got to have 
another signature from her before I can get hold 
of that property. It belonged to her — but as 
long as she's my wife — it belongs to me, too — see? 

Alice — Is there any money in it? 

Knowles — You don't suppose I'd be looking 
for her if there wasn't, do you? 

Alice — Where do I come in if you find her — 
and get the money? 

Knowles — Same as before, if you like. 

Alice — Not on your life! I've had one taste of 
you — that will last me for a long, long time. 



ACT III 73 

If you'll promise me a third of what you make 
out of it — I'll see that you'll find her. 

Knowles — Do you know where she is? 

Alice — I may — I'm not saying until we come 
to some agreement. 

Knowles — Yes — but where are the papers? 

Alice — Oh — they're all right. Amy probably 
put them away somewhere. 

Knowles — If you'll help me to find Rose, 
I'll agree to your terms — one-third of the profits 
and — a new pearl necklace. 

Alice — Good. 

Amy — {Enters.) Mah goodness, Missie — ah's 
'fraid you all ain' nevah goin' t' git dat dress. 

Alice — Why not? {Knowles recognizes Amy 
and keeps his back to her.) 

Amy — 'Cause, dem dress makah's done gone 
on a strike. 

Alice — {Furious.) More bad luck! 

Amy — Yas'm. De' done pahmed out yo' dress 
to some one else dat was t' deliber it back to 'em 
to-night — but ain' did so. 

Alice — Couldn't you get the address of this 
person ? 

Amy — Yas'm — ah did. Dey's somethin' famil- 
iah 'bout it, too. {Takes dirty piece of paper from 
her pocket and reads with difficulty.) 23 Rivington 
Street — Mrs. Edwards. 



74 BIRDS OF A FEATHER 

Alice — Tell 'em down at the office to get me a 
taxi. I'm going down there myself. 

Amy — Yas'm. {Starts for telephone.) 

Alice — You can't use the telephone — it's 
broken. Go downstairs, or tell the elevator boy. 

Amy — Yas'm. {Turns, and as she does, she 
sees Knowles.) Ma goodness! {Giggles.) Ah 
didn't know we hed company. 

Alice — There are a lot of things you don't know. 

Amy — {Looking intently at Knowles.) Yas'm — 
ah knows dey is. {Working around so as to see 
his face.) Dey's a lot ob tings ah don' wan' to 
know neither — but dey's some ah does. Seems 
to me ah seen dat back befoh so ah's a-goin' t' see 
dat face befo' ah goes anywah's. Tu'n roun' 
heah man — lemme see yo' face. {Knowles turns 
and faces her.) Mah Gawd! Ah knows you! 
You is Mistah Howard Knowles ! 

Knowles — {Holding out his hand to her.) How 
are you, Amy."* 

Amy — {Indignantly.) How is ah.^ How is ali.^ 
White man — don' you dah ask me how is ah.^ 

Knowles — {Nervously.) Why, what's the mat- 
ter with you.^ 

Amy — Mattah wid me! Huh! Dey aint 
nothin' de mattah wid me. Ah jes don' caah 
fo' yo' company, dat's all. 

Alice — Amy, how dare you talk like that.^ 



ACT III 75 

Amy — Look hyah, woman — don' you all git me 
riled. I'se a bad niggah when my spunk is 
touched up. Does you all know what dat man 
done? He's de man ah uster wuk foh — de man 
what run away an' leave he's wife all alone by 
huhse'f — ^jes' when he wuz needed mos'. He's 
dat Howard Knowles dat leave his pretty little 
wife to shif foh huhse'f an run off wid anuddah 
woman. {Sharply inspects Alice.) Look hyah! 
Is you all dat woman .^ 

Alice — {Sharply.) Amy! How dare you talk 
like this.? 

Amy — How dah ah.? Huh! Ah done ask 
you a question, an ef yi' don' cah to answer, 
dat's yo' business — but ah knows dat ah has 
mah s'picions. {With great scorn.) Dis heah 
man, he aint no good a'tall. He's a bahd egg, 
an' ah don' care to wuk fo' no lady what has him 
a-hangin' 'roun'. Ah guess you all kin git 'long 
widout me, so — good night. {Starts to go.) 

Alice — Wait a moment. Where are those 
papers you showed me early in the evening — the 
ones you got out of that old trunk — the ones that 
were addressed to Mr. Knowles.? 

Amy — Ah laid 'em on dat table. 

Howard — Well, they aren't there now. 

Amy — Ah don' cah whah dey is. {Starts to go 
again.) 



76 BIRDS OF A FEATHER 

Knowles — {To Alice.) She mustn't get away 
unless she tells about those papers. 

Alice — Amy! Stop! You haven't told me 
why you hid those papers. 

Amy — Ah nevah hid dern papahs. Ah laid 
dem down on dat table 'cause ah was goin' to 
throw dem away, jes es you tole me to do. If 
dey is gone — you done took 'em yo' se'f. Ah'm 
goin' away f'um heah an' ah don't wan' to be 
stopped no moh. {Looking reproachfully at Alice.) 
Ah suah did think yo' wuz a la-dy, even if you 
has got a little spo'tin' blood in you. But ah 
caint fo'get dat dis heah man done lef his pretty 
little wife — all alone — ^jes' when she needed him 
mos'. An' ah' don' want to 'membah dat yo' 
wuz de cause of him doin' hit, either, case if ah 
does 'membah dat, I'm liable to clean out de 
place. I'm black, an' I'm Lady's Maid to a 
Spo'tin' Queen — but ah's white compared to 
you two. {Exit.) 

Knowles — {Quickly goes to outside door and 
locks it.) Tell her to come back this way before 
she goes out. 

Alice — What for.^ 

Knowles — I'm going to see whether she's got 
those papers. I'll bet she read them and saw 
what they were — that's the reason she's so 
anxious to get away. {Scornfully.) Bless your 



ACT III 11 

heart, it isn't because she's afraid of being con- 
taminated by association with you and me: it's 
because she has a reason to get away. I'd bet 
a thousand dollars—if I had it— she knows where 
my wife is. 

Alice — Nonsense ! 

Knovvles — Make some excuse to get her back 
here. 

Alice — All right. (Calls:) Amy! 

Amy— {Off stagf.) What 'sha want.? 

Alice — Come in this way before you go. {No 
answer.) AMY! 

Amy— {Off stage.) All right, ah will. 

Knowles — Good. When she comes in, get 
between her and that door, and I'll cover this one. 
If I don't scare her to death, I'll know the reason 
why. {Jmy enters, carrying a telescope, fiilh 
packed., her hat on.) 

Amy — Now, what kin ah do foh you befo' ah 
goes 1 

Knowles — {Standing in front of door to hall 
— ivith revolver in hand— -points it at her.) You 
can hand over those papers. 

Amy — {Bursts into a roar of laughter.) Ha, ha! 
Dis is de funnies' ting ah evah done see in mah 
life! Ha, ha! (Sobering up.) Didn't ah tell 
yo' ah hadn' seen no papahs? Well, believe me 
when ah tells yo'dat. 



78 BIRDS OF A FEATHER 

Knowles — Alice — go through her telescope. 

Amy — (Softly, but with a growing anger?) Alice, 
don't you do nothin' of de kind. Ef yo' does, ah 
shuah staht somethin' 'roun' heah! 

Knowles — Come on, don't be afraid. 

Amy — No, cou'se not — don' be 'fraid. Come 
on an' try an' take dis heah satchel away f'um me. 
(Angrily to Knowles^ Look heah, white man, 
I'se gettin' riled, ah is! Ef you all don' put dat 
little popgun in yo' pocket, ah suah is goin' to 
take hit away from you! Start somethin', why 
don' you.? Go on an' shoot. (Laughs boister- 
ously^ Mah Gawd! Ef dis ain' de funnies'! 
(Seriously.) Git out o' mah way yo' poh fool! 
I'll brek yo' in two pieces. (Starts for door.) 

Foh Gawd's sake Ha, ha! Try to scare 

me wid a popgun. (Goes close to Knowles.) Yo' 
po' little excuse foh a man. (Takes his gun hand 
and pulls pistol away.) Gimme dat! Yo' might 
hu't yo'se'f. (Laughs heartily again — opens door.) 
Lemme tell you one ting, people. Don' you 
nevah try fo to scah a niggah what lives in San 
Juan Hill wid a little nickel-plated popgun. We 
eats dem foh suppah ev'y night. (Exits, laugh- 
ing. Knowles and Alice stand looking at each 
other for a moment.) 

Alice — She bluffed you, didn't she.'* 



ACT III 79 

Knowles — {Shamefacedly.) Oh, I didn't want 
to hurt her. 

Alice — Rats! You were scared stiff — and you 
know it. 

Knowles — Well, maybe I was — but that hasn't 
found the papers for me. I must have 'em. 

Alice — I'll bet the man who took my pearls 
has 'em. If he has, good-night. 

Knowles — {Angrily.) I know how I can get 
them. 

Alice — How.^ 

Knowles — Paying for information as to where 
he can be found. 

Alice — Where will you get the information.^ 

Knowles — Leave it to me. You furnish the 
money. I'll do the rest. 

Alice — How much will you need.? 

Knowles — I don't know, yet. {Knock on the 
door to hall.) 

Alice — What is it.? 

Voice — {Outside.) There's a cab waitin' down- 
stairs for you. 

Alice — I forgot all about that costume. 
{Calling through door.) All right, I'll be down. 

Knowles — Where're you going.? 

Alice — {Wrapping cloak around her.) 23 Riv- 
ington Street — Mrs. Edwards. 



80 BIRDS OF A FEATHER 

Knowles — Good. That's my direction, too. 
I'll go with you. I'll get the information I want 
down there. Come on. 

{Catches up coat and hat, and both exit.) 
CURTAIN 



ACT IV 

Scene — A poorly furnished room in a tenement 
house on Rivington Street, New York City. The 
walls are hare, the furniture old, hut everything has 
an air of cleanliness. There is a screen in one 
corner of the room hiding a bed. A window up 
stage looks out on a dimly -lighted air shaft. A 
sewing machine is placed in front of window so as to 
get the fast fading light. The room is lighted hy 
means of a lamp, which, as the curtain goes up, is 
discovered on table, down stage. 

Time — Same as the preceding act. The light 
fades in window as the action proceeds, and the time 
passes in such a way as to show how Saunders can 
come from Alice Winslow^s hotel to this street 
without an effort of haste. 

Discovered — Rose Noble, at sewing machine; her 
head is resting on the machine, as though she had 
fallen asleep over her work. After a moment there is 
a loud knock on the door. Another pause, followed 
hy another knock, more insistent. Rose awakens 
with a start, looks around, startled. The knock is 
repeated — this time very loudly. Rose quickly rises, 
goes to the door and throws it open. 
81 



82 BIRDS OF A FEATHER 

Rose — Come in. I'm sorry to have kept you 
waiting, but I must have dropped off to sleep. 

{Enters Morris Goldmann, the landlord of the 
tenement. He is a richly dressed man of the Jewish 
type — crude — eve7i brutal.) 

GoLDMANN — Good evening. I called to see 
whether you've got that money for my rent yet. 

Rose — I'm sorry 

GoLDMANN So'm I. 

Rose — I told Mr. Beeman, the janitor, I'd 
have It for you to-morrow. 

GoLDMANN — Yes, and you've told Mr. Beeman 
lots of times before you'd have it "to-morrow" — 
and you haven't got it yet. 

Rose — You see, Mr. Goldmann — I — I — I have 
just been able to get some work to do. It will be 
finished to-night and delivered to-morrow, and 
then I'll be able to pay you all there Is coming 
to you. Just give me until then — I'll surely 
have it. 

Goldmann — {Brutally.) I don't know whether 
you will nor not. I've heard these hard-luck 
stories so many times. You wouldn't think it, 
maybe, but I'm a charitable man myself, but I 
can't afford to keep an expensive apartment 
house like this going, unless my tenants pay 
me my rent. You're three weeks behind now — 
how do I know you're going to pay me.? 



ACT IV 83 

Rose — Oh! Why see, here's the dress Pm 
working on — it's almost done. I've been up all 
last night working, working, all the time, just 
to get it done. 

GoLDMANN — {Looking at dress — grins.) That's 
what you ought to be wearing, my dear. Silks 
and satins and diamonds, and eating in the big 
restaurants on Broadway, and riding around in 
your automobile and 

Rose — {Sadly smiles.) I'm afraid that is not 
for me, Mr. Goldmann — not until I earn a great 
deal more money. 

Goldmann — That's what I've come to see you 
to-night about, my dear. 

Rose — {Puzzled.) I don't understand. 

Goldmann — I can show you how you can do 
all these things — now — without waiting. I'll make 
you a business proposition. 

Rose — A business proposition.? 

Goldmann — {Coming closer to her.) Sure. You 
don't like to live down here — even in my stylish 
apartment house — do you.? 

Rose — Not very well, I'll admit. But it's the 
best I can afford. 

Goldmann — I'll take you out of it and put you 
in a nice flat I own on West 63d Street, if 

Rose — {Beginning to understand.) Mr. Gold- 
mann! 



84 BIRDS OF A FEATHER 

GoLDMANN — Now don't get mad. It's a busi- 
ness proposition. You're a fine lookin' woman — 
you are starving yourself to death down here. 
There aint no money to be got in this neighbor- 
hood by a gook-looking girl like you — but if you 
go up on 63d Street, I'll see you make lots of it. 
All you got to do is 

Rose — Stop! I don't quite understand what 
you are offering me, but I have a suspicion. If 
it is as I suspect, I don't want to hear any more. 
If you are offering me something honorable, don't 
beat about the bush, but come out at once and 
say what you have to say. 

GoLDMANN — Ah, stop your nonsense. You 
know what I mean well enough, but if you want 
to be squeamish, I'll come right out and tell you 
I'm offering you a chance to get some fat on your 
bones, and fill the hollow places in your cheeks; 
to wear some real clothes instead of the rags you're 
wearing now. You won't have to work at all — 
all you've got to do is to look swell, ride around 
in the car I'll furnish you, and be a real lady. 

Rose — Do I understand that you're offering 
to marry me? 

GoLDMANN — Good God — uo! I aint the 
marryin' kind. I don't have to. What's the use 
of marryin' in New York when you can get all 
the comforts of a home without it.^ I'm just 



ACT IV 85 

sorry for you, that's all. I told you before I was 
a charitable man. I do lots of charity work of 
this kind. 

Rose — {Indignantly.) Yes, I've heard of your 
kind of charity before. The papers are full of it. 
The world is full of it. The charity men of your 
kind do is the charity that leads to hell faster 
than the devil himself. Men like you, Mr. Gold- 
mann, go searching through the dark places, 
and when you find a poor soul, not lost, but 
losing the fight for honesty and purity, you, 
with your temptations of clothes, brightness and 
food, seem like a ray of light to many of them — 
and they go with you to enjoy, for a brief space 
of time, what you have to offer them in the way 
of sin — only to be thrown aside when their 
freshness is gone and their usefulness, so far as 
filling your pockets with gold is concerned. Yes, 
I am poor — I am starving — my clothes are rags — 
I do owe you money for the rent of this miserable 
place I call home, but so long as it is my home, I 
can do as I like in it. To-morrow you may put 
me on the street if you wish, but to-night this room 
is mine and I tell you to leave it — now! 

GoLDMANN — My, my! What a spunky little 
thing she is! {Harshly.) Well, I'll tell you one 
thing, young woman — you'll get out of this 
miserable place, as you call it, to-morrow morning, 



86 BIRDS OF A FEATHER 

unless you have the money you owe me. I was 
offering you something good. 

Rose — I don't want to hear any more from 
you, Mr. Goldmann. {Going to door and opening 
it.) Go! 

Goldmann — ^Oh, I'll go all right. But I'll get 
you yet — some way. {Exits.) 

{Rose sinks down at machine.^ crying. It grows 
darker, and when she finally lifts her head, she rises, 
lights the lamp and places it 07i machine, and 
then resumes her sewing. There is a moments 
pause, then a cautious footstep is heard outside 
the door. She stops and listens. After a moment 
she resumes work again. There is a very hesitat- 
ing knock on the door. Rose pauses, then rises 
slowly and tip-toes to door — listens — the knock is 
repeated.) 

Rose — {Without opening door.) Who's there .^ 

JiMMiE Saunders — {Outside.) I want to speak 
to Mrs. Edwards. 

Rose — This is Mrs. Edwards. Who are you.^ 

Saunders — An old friend. 

Rose — I haven't any old friends. 

Saunders — Please don't keep me out here. 
I've got to talk to you to-night. . It's for your own 
good. You'll know me when you see me. 

Rose — {Hesitates.) Well {Opening door.) 

Come in. {Saunders enters. He has changed 



ACT IV 87 

his dress, and is now much more quietly ap- 
parelled.) 

Saunders — {Quickly locks door behind him.) 
Don't be frightened. 

Rose — {Retreating behind table.) What do you 
want? 

Saunders — {Standing where the light will fall 
on his face.) Don't you know me? 

Rose — I do not. 

Saunders — Don't you remember one night, 
about six years ago, when you helped a man, 
hunted down by other men, to escape? 

Rose — Perfectly. 

Saunders — I'm that man. 

Rose — {fFith a cry of delight.) Oh, at last — at 
last! After all these years. Oh, why didn't you 
come to help me three years ago when I sent for 
you! I've waited so long. I thought I could 
rely upon your word, and yet, when I needed you 
most, you failed me — ^just as every one else has 
done. 

Saunders — I couldn't help it. I wasn't at 
liberty to come — then. The letter came to me — 
where I was — but I couldn't take a chance of 
communicating with you, for fear it would get you 
into trouble. 

Rose — (Horror-stricken.) Do you mean to say 
vouVe been in jail? 



88 BIRDS OF A FEATHER 

Saunders — {Looking ashamed of himself.) Yes. 
They caught me with the goods, and gave me a 
."^hort term. 

Rose — Oh! I did so need some one to help me. 

Saunders — ^I'm here to help you now. I was 
going to leave town again without seein' you, but 
to-day I came across a face that made me think 
of you — and I felt — even if I had been in jail — 
you — you — might be willing to let me help you in 
some way, if you needed it, and so 

Rose — Whose was the face you saw that made 
you think of me.^ 

Saunders — -A woman who was up at the lake 
the summer you helped me escape. 

Rose — What was her name.^ 

Saunders — Alice Winslow. 

Rose — That woman! Sometimes I think I 
could kill her. 

Saunders — Has she injured you.^ 

Rose — The worst injury one woman could do 
another. 

Saunders — What did she do.^ 

Rose — Lied about me to her lover — my 
husband. 

Saunders — Your husband.'* Are you married."^ 

Rose — {Burying her face in her hands.) I don't 
know. 

Saunders — What! I don't understand. 



ACT IV 89 

Rose — The very night you left Lake George, I 
left also — to be married, secretly, to Howard 
Knowles; we came to New York and lived here 
for three years — together — at the end of that 
time, just — ^just — ^just before my — my baby was 
born, he told me we were not married, and left 
me alone — going away, as I afterwards learned, 
with Alice Winslow. She was the only one who 
saw you In my home that night — she must have 

told him, for he accused me of — you Oh, 

how can I tell it? He accused me of having had 
a lover in my home that night! He accused me of 
having had a lover all the time I was in New 
York — the same one. I sent for you, when I left 
our New York home, asking you to come and help 
me disprove this mad fancy of his — but I never 
heard from you. My — baby — died. I've been 
living here, trying to make a living doing sewing — 
ever since, I've always hoped you'd come — not 
because I want him again, but because you prom- 
ised to help me — and I know if he can be found, 
he can be made to say that we were married — 
even if he did deny it. 

Saunders — Poor little woman. You've had a 
hard time of It. Didn't you have anything to 
prove that you were married to him.^ 

Rose — There was a certificate — but he took it. 
There was also an agreement that we both signed 



90 BIRDS OF A FEATHER 

the night I went away with him, saying that he 
would acknowledge the marriage three years 
from that time. 

Saunders — What became of them? 

Rose — I don't know. He took them and kept 
them both. I've never seen them since. 

Saunders — {Under his breath.) Damn him! 
{To her.) Where is he now.^ 

Rose — I don't know. He went to England. 
I don't think he has returned. 

Saunders — ^Do you suppose Alice Winslow 
knows where he is.^ 

Rose — I don't know. Why do you ask ^ 

Saunders — {Smiles.) Because I had a very 
interesting conversation with the lady this 
evening — early. If she does know, I'll find out — 
some way. {Looks at her queerly.) Do you know 
the man who came in to see you just before I did.^ 

Rose — He is the owner of the building. 

Saunders — What did he want here this time 
of night.'' 

Rose — {Hangs her head.) He — he 

Saunders — Do you know what his real busi- 
ness is.^ 

Rose — I can guess it. 

Saunders— Are you under any obligation to him .^ 

Rose — I am behind in my rent a little bit — 
but I'll pay that to-morrow. 



ACT IV 91 

Saunders — I'd not have much to do with 
Goldmann. I know him! 

Rose — So do I! 

Saunders — He's a bad one — for a good woman 
to know. {Quickly changes the subject.) Don't 
worry any more about your troubles. I'm going 
to be right near you, from now on, and if we can't 
find out all about your husband, it won't be my 

fault. I've got to work quietly {She looks 

disappointed.) Oh, don't look like that — please. 
I'm going to help you, but you've got to let me 
do it in my own way. I know what you think, 
but this time, you're wrong — I can't explain just 
now, but Here, take this money! 

Rose — {Drawing back.) Oh, no, I couldn't. 
I really don't need it — I'll have plenty to-morrow 
— after this dress is delivered. 

Saunders — Are you sure.? 

Rose — {Faintly.) Yes — sure. {Knock at the 
door. They both pause — startled. Rose, after a 
moment^ s pause., goes to door. — Well "^ {Saunders 
goes behind screen and motions her not to make his 
presence known.) 

Alice Winslow — Does Mrs. Edwards live 
here.? 

Rose — {Opening door.) I am Mrs. Edwards — 
come in. 

Alice — {Entering.) I'm looking for a dress 



92 BIRDS OF A FEATHER 

that was given to you by my costumers to finish. 
It was promised for to-night 

Rose — It's almost finished — I was working on 
it now — it was not to be delivered until to- 
morrow morning. 

Alice — {Looking closely at her.) Why — well 
kick me quick, if it isn't 

Rose — {Recognizing Alice.) You! 

Alice — Me! This is a surprise — for both of 
us — but I've got a bigger one for you in about a 
minute. 

Rose — What do you want with me.^ 

Alice — I want a whole lot! I didn't come here 
to find Mrs. Howard Knowles — not — but I did 
come for a dress — now that I do find you instead 
of Mrs. Edwards, there are several things we 
will want to talk about before we're through. 

Rose — I don't care to talk about you at all. 

Alice — Oh, it isn't about me, we'll talk — it's 
about you — you and the pal you had six years ago. 

Rose — I had no "pal" six years ago. 

Alice — What about the man you had con- 
cealed in your bed the night I called to see you.^ 
Wasn't he a crook .^ 

Rose — I have nothing to say. 

Alice — Wasn't he the man who had been rob- 
bing the hotels in the neighborhood during the 
summer.? 



ACT IV 93 

Rose — What right have you to question me 
in this way? 

Alice — Oh, you'll see the right in a few min- 
utes. Wasn't he the man who was the father of 
your baby? 

Rose — Stop! You devil! How did you know 
I had had a child? You blot on the face of the 
earth! You wicked, horrible woman! You rob- 
ber of all that is good and pure in womanhood — 
you stealer of other women's husbands — how dare 
you come here to me and ask me these things? 
How dare you, I say? You, who stole my hus- 
band from me — for what reason, God knows — you 
thief in the night, who robbed me even of my good 
name by telling my husband of something I had 
done out of pity — and you — with your evil mind — 
misconstruing it into something evil like yourself. 

Alice — {Suddenly sees cane that Saunders has 
left on top of table.) Wait a minute. {Picks up 
cane.) Where did this come from ? 

RosE—{Startled.) I— I 

Alice — {Going to door.) Come up here, you 
two — I've got a friend I want you to meet. 
{Enter Howard Knowles and Policeman Flannagan.) 

Rose — {Seeing Howard.) My husband! 

Knowles. — Rose ! 

Alice — You claim every man for your husband. 
Officer, you aic looking for Jimmie Saunders, 



94 BIRDS OF A FEATHER 

aren't you? Well, I didn't bring you here to find 
him, but merely for protection, but now that you 
are here, I think I can tell you that the man you 
are looking for is here in this house, or has been 
here to-night. 

Flannagan — How do you know? 

Alice — {Pointing to cane.) Here is the very stick 
he carried when he called on me this afternoon I 

Flannagan — {Picks up cane — looks at it.) 

Well, I'll be {To Rose.) Come on, young 

woman — where's your pal? 

Rose — I haven't any pal, I tell you. 

Alice — The innocent country girl, who loved 
the farm and didn't care for the big city with all 
its lights, and raved over women taking care of 
children and big families — and here you are 
concealing any woman's husband 

Rose — ^Take care 

Alice — I'll bet a thousand dollars she knows 
where my pearls are. 

Rose — Pearls? 

Alice — I want her arrested. 

Flannagan — I can't arrest her without a 
warrant. I aint seen her do nothin'. 

Alice — You can arrest her as a suspicious 
character, can't you? 

Flannagan — What — in her own home? Not 
on your life! 



ACT- IV 95 

Alice — Not with the evidence of this cane here? 

Flannagan — I kin search the place fer Saun- 
ders — if I find him — I kin take 'em both with 
me — if that'll satisfy you. 

Alice — I want her searched. 

Flannagan — I never search a woman. 

Alice — It's my property I'm looking for — • 
I'll do it. 

Flannagan — Then you'll do it at your own 
risk. I won't be a partner in it. {To Rose.) Do 
you mind her searching you .? 

Rose — Is it necessary.^ 

Flannagan — No it aint; but if you've got 
nothing to conceal, what do you care.? {During 
all this Saunders, behind the screen, is in evidence at 
times. Howard Knowles is distinctly uneasy at the 
turn affairs have taken over the discovery of Rose, 
and is trying to get away. During the search of 
Rose by Alice, he edges toward the door.) 

Alice — {Is passing her hands up and down 
Rosens body, and finds nothing. She finally at- 
tempts to open the front of her dress.) You've got 
something in there — what is it? 

Rose — {Pushing her away.) No, no. 

Alice — {Ripping open her dress, snatches a 
little bag that hangs there.) Ah, ha! {In spite of 
Rosens efforts, she succeeds in opening bag and 
taking out an old piece of paper, looks at it.) What 



96 BIRDS OF A FEATHER 

did I tell you! {Reads.) Jimmie Saunders, 
Rivington Street. {Giving it to Flannagan.) I 
told you so. 

Flannagan — Who wrote this ^ 

Rose — {Sobbing.) I shan't tell you. 

Flannagan — I guess evidence is against you, 
young woman — you'll have to come along with 
me. 

Rose — But I haven't done anything. {Crying.) 
Oh, please, please — isn't there any one to help me? 

Saunders — {Quietly stepping from behind screen 
in front of door.) Sure! 

{They all turn with a start. Flannagan starts to 
draw revolver.) 

Saunders — None o' that. Put up your hands! 
{Covering them all with revolver.) 

{Knowles makes an attempt to go out of room.) 

Saunders — Not yet, old top — we'll need you 
before we're finished. 

Alice — {Excitedly.) This is the man who took 
my pearls. Officer, arrest him. 

Flannagan — {Sheepishly.) I'd like to — but 

Saunders — But — you'd rather not, eh, Flan- 
nagan ? 

Alice — Coward 1 

Saundres — {To Rose.) Now, Mrs. Knowles, 
go into that officer's back pocket and get that 



ACT IV 97 

revolver he has there. {She does so.) Lay It 
on the table. Then reach into the other pocket 
and get that pair of handcuffs you'll find. {She 
does so.) Now get the key from his vest pocket. 
{She does so.) Place those handcuffs on Mr. 
Howard Knowles' wrist. After one is locked, 
lock the other to Mr. Flannagan's wrist. {She 
does so.) Thanks — now we can talk more 
comfortably. 

Flannagan — Say — what does this mean — 
you're the man I want, not Knowles. 

Alice — I should say he was — he stole my 
pearls. 

Saunders — Forget it! Now, Mr. Howard 
Knowles — this lady says she is your wife. Is 
that so.? 

Knowles — {Hesitates.) Well — I — er 

Alice — Why don't you speak up and tell him — 
the truth. 

Saunders — Come on — speak up — is she.? 

Knowles — No — o ! 

Rose — {Burying her face in her hands.) Oh! 

Saunders — All right. We'll have to take your 
word for it for a moment. {Drawing paper out 
of pocket.) Did you ever see this paper before.? 

Knowles — {Startled.) Why — I 

Rose — That's the paper I signed the night I 
ran away with him. 



98 BIRDS OF A FEATHER 

Saunders — You want to listen to all this, 
Flannagan. It'll do you good. (To Knowles.) 
If you never saw this paper before — how comes it 
that your name is signed to it, too? 

Knowles — It's a lie. 

Saunders — All right — we'll let it pass. Now — 
{taking a second paper from his pocket) here's a 
marriage certificate, signed by the Reverend John 
Williams, saying you were married to Rose Noble 
on the night of September 19th, 1907. You see, 
Flannagan, he's lied twice — he'll do it again. 

Rose — Oh, then he is my husband! 

Saunders — I'm sorry to say he is, Mrs. 
Knowles! 

Rose — Oh, thank God — thank God! 

Alice — {To Knowles.) Well, I'll be — you dirty 
dog! You lied to me, too. 

Knowles — {Defiantly.) Well, what of it — 
you can't arrest me for that! 

Saunders — You're right — they can't — but — 
now, Flannagan, get ready for the surprise of 
your life. You can arrest him for the theft of 
fifty thousand dollars, stolen a little over three 
years ago, from his client, George Moser. The 
police have been looking for him ever since! 

Knowles — That's a lie, too. 

Saunders — You've got a bad habit of telling 
people they lie. 



ACT IV 99 

Alice — He sure has — I know he stole the money 
— he told me so. 

Knowles — {Angrily.) You'd better keep quiet 
— or you'll go with me when / go. 

Flannagan — Oh, then you admit there's a 
chance of your going — up,? 

Knowles — I'll admit nothing. I didn't come 
here to be questioned by a crook. 

Saunders — How do you know I'm a crook.? 

Knowles — {Sullenly.) None of your business. 

Flannagan — Say, you're Jimmie Saunders! 

Saunders — Well, well — isn't he the clever 
little boy! Just waking up, Flannagan.? Of 
course I'm Jimmie Saunders — what of it.? 

Flannagan — Oh, nothing 

Knowles — See here — I want that man ar- 
rested — he's admitted he's the man you've been 
looking for. 

Flannagan — {Smiles.) Well, just at the pres- 
ent moment, I don't see how I'm going to do any 
arrestin'. 

Knowles — Well, then I'll get some one who 
will ! {Starts for door.) 

Saunders — ^All right, go with him, Flannagan. 
I don't see very well how he's going to get away 
without you. {Knowles is trying to disengage 
his manacled hand fro7n the cuff attached to his 
wrist.) I don't think I'd go just yet, Knowles. 



100 BIRDS OF A FEATHER 

You'll start soon enough — with Flannagan, too; 
so don't be in a hurry. Now, Mrs. Knowles, take 
that paper you signed the night you went away 
with this man, and read it, then tell us what it 
contains. 

Rose — (Picking up paper from table.) Why 

{Reads it hurriedly.) Why — it seems to be a 
paper giving this man the rights to some property 
my grandfather left me near Lake George. 

Saunders — That's just what it is'. {To 
Knowles.) You overreached yourself that time, 
didn't you.^ You thought all you would have 
to do was to get this poor child's signature to that 
document — without witnesses — and then sell your 
rights in it — because it has oil on it — for a big 
price. You didn't stop to realize that the 
moment you married her, this document was 
absolutely no good without a release from your 
wife to her rights in it. That's the reason you 
denied the marriage — that's the reason you left 
her when she needed you most. You know, I've 
been a pretty hard customer in my time, but 
you — well, you're a damned scoundrel! 

Alice — Well I never! {To Rose.) You poor 
kid! (7*0 Flannagan.) I guess this fellow has 
got us dead to rights. I'm willing to go along 
with you — if it's necessary — just to tell my story 
as to the facts in this thing — so far as the robbery 



I 



ACT IV 101 

of the fifty thousand dollars is concerned. I 
don't know about the rest of it — but b'lieve me, 
friends — if I'd a known 

Saunders — {To Rose,) Hand me that cane, 
will you, please? {Rose does so.) Thank you! 
{Presses head of cane ^ which comes of — he lays down 
his revolver to accomplish all this.) Now — watch! 
{Turns cane upside down and pearls fall out.) 

Alice — My pearls! 

Saunders — {Coolly.) Are they? 

Alice — Of course they are — and you know it. 

Saunders — Where did you get them? 

Alice — Why, I bought them. 

Saunders — Where did you get them — ^bought 
them? Where did you get the money to buy 
them ? 

Alice — From {Looks at Knowles.) Oh, 

I see — you think they aint mine? 

Saunders — Well, I'll leave it to your business 
judgment. // they are yours — you'll have to 
acknowledge yourself as a confederate to this 
man. If you are willing to return them to the 
proper authorities, through a third party, of 
course, as part of the spoils we hope to recover 

{Flannagan in the mean while has edged over to 
the table near the revolver, taking Knowles with him, 
and finally lets his hand lay near the pistol, thinking 
himself unobserved by Saunders. He takes up 



102 BIRDS OF A FEATHER 

the gun quickly, and points it at Saunders.) 

Flannagan — Throw up your hands. 

Saunders — {Looks around coolly.) Oh, don't 
be foolish, Flannagan. I'm not going to run 
away. 

Flannagan — {Grimly.) You bet you aint. 
Not yet. {To Rose.) Now, young woman, take 
that key and unlock this cuff from my wrist — and 
be quick about it. 

Saunders — Don't do anything of the kind, 
Rose. {Taking up Flannagan' s revolver which Rose 
has laid on table earlier.) That gun is empty, 
Flannagan! 

Flannagan — {Looking at it.) Well, I'll be 
damned! {Throws it on the table, after looking at 
it.) 

Saunders — We're not making very much 
progress, are we.^ However, we'll commence 
right now. {Takes paper from pocket and hands 
it to Flannagan.) Do you want to serve that 
now, Flannagan.? 

Flannagan — {Takes paper with one hand and 
reads it.) Why, this is a warrant for the arrest of 
Howard Knowles for embezzlement! 

Saunders — It is. 

Rose— What! 

Alice — Holy smoke! What am I up against.? 



ACT IV 103 

Knowles — Who are you? 

Saunders — Flannagan can tell you, if he cares 
to. 

Flannagan — Why, this is James Saunders — a 
Burns' man! 

Saunders — That's me. 

Alice — What did you steal my pearls for? 

Saunders — I didn't. I took them — away from 
you — to keep you from getting into more trouble. 
Since you left this fellow Knowles, you've been 
pretty decent — making your living — honestly — 
with your dancing. I've been looking for Knowles 
for a long, long time — in fact, ever since I joined 
the Burns' Agency — it's my first case — but I've 
got him! I knew he'd hunt you up when he came 
back from England, so I had to get acquainted 
with you first. Now, as I started to say a few 
minutes ago, when Flannagan so rudely inter- 
rupted me — if you're willing to turn over these 
pearls to me — as part of his spoils from the fifty- 
thousand-dollar robbery — you can go, but if you 
still want to claim them as yours — I'm afraid 
you'll have to go with him. 

Alice — You can have the pearls! It's me for 
the narrow path! Good-night! {To Rose.) I'm 
sorry for you — sorry because I done you a wrong 
without knowing it really was a wrong. If I'd 
a-knownthis man was really your husband, believe 



104 BIRDS OF A FEATHER 

me, kid, he'd never have gone away with little 
Alice. {To Saunders.) I don't understand it all 
yet, but when you want me to testify against 
this — this — excuse for a man, you know where to 
find me. {Takes up unfinished dress.) I'll 
finish this myself. It's me for rehearsal quick! 
{Exit.) 

Flannagan — {To Knowles.) Come along, you 
— I've got the warrant — but if this isn't "the sur- 
prise of my life — I'm a liar. {To Saunders.) I 
guess it's all right — you've got the goods on you 
to prove you're what you say you are — but you're 
some class, Mr. Jimmie Saunders, Burns' man, 
alias Mr. Jimmie Saunders, ex-convict. 

Saunders — {Smiling.) That's all right, Flan- 
nagan. There's a lot you've got to learn yet — 
even if you are a New York policeman. {Hands 
him pistol.) Here's your gun. Some day, when 
you wake up, after you get credit for this arrest, 
I'll tell you all about it. 

Knowles — Well, I guess I've run to the end of 
my tether — but now I'll admit what I wouldn't 
before — this woman is my wife — and she'll suffer 
for her part in this affair. 

Saunders — She has suffered — all she's going to. 
The minute you're convicted, and you will be — 
she's free. She's going back to her little home — 
the one you tried to steal away from her with 



ACT IV 105 

your lies — and she's going to be happy 

Knowles — With her crook detective, I sup- 
pose ? 

Saunders — Flannagan — you'd better take him 
out of here before I do something to him I could 
be arrested for! 

Flannagan — Come on — Mr. Knowles. He's 
got the goods on you — and I'm damned glad of it! 

{Exit with Knowles, There is a long pause, in 
which Rose nervously turns up lamp and cleans up 
the top of the sewing machine. She finally looks up 
and says:) 

Rose — Were you really in prison, Mr. Saunders 1 

Saunders — I really was. 

Rose — Then how does it come that you're — 
well — honest now.? 

Saunders — {Looks at her for quite a time before 
answering.) I don't know just how I'm going to 
make myself understood, because if I say what's 
on my mind, I might lose something I've been 
fighting for this long while. I can say this, how- 
ever: ever since your letter reached me — in 
prison — I made up my mind to behave myself 
when I got out. When you saved my life six years 
ago — away up in those mountains — the promise 
I gave to you has haunted me. When I found 
myself where I couldn't help you, when you 



106 BIRDS OF A FEATHER 

needed me, I made up my mind that never again 
would I be caught where I couldn't redeem my 
promise to any one. When I got out, I came 
right down here, and, unknown to you, saw how 
you were living — and wondered why. Then I 
got this job through some friends — who still 
trusted me — and — well, the very first case that 
came to me was this Howard Knowles one. The 
further I got into it, the more I liked it, but I 
hadn't any idea this man was your husband until 
I came across those papers I gave you. 
{Looking ashamed.) I had to lie to you 
when I said I was going out of town again 
— without seeing you — that I didn't know you 
were married. I knew Alice Winslow would 
come down here in search of her dress — for I 
knew the costumer had given it to you to work 
on — and I hoped she would bring Knowles with 
her — ^just as she did. Don't ask me how I 
know these things — but now it's my business 
to know many things, and I can't tell you how 
I know them. 

Rose — You've cleared up many things that 
were puzzling me. 

Saunders — I'm going to clear up lots more. 
{Looking around the room.) You can't stay here 
any longer. 

Rose — Why not.'* 



ACT IV 107 

Saunders — It isn't safe — now. 

Rose — It has been safe for a long, long time. 

Saunders — Well, there isn't any necessity of 
your doing so any longer. 

Rose— Why.? 

Saunders — You're a wealthy young woman, 
now. 

Rose — Wealthy.? 

Saunders — That land of yours is worth a whole 
lot of money — they've been looking for you for a 
long time. There's lots of money waiting for you. 

Rose — Well, it can wait a little while longer. 
I've nowhere else to go to-night. 

Saunders — You can go to some hotel. 

Rose — (Simply.) I haven't any money. 

Saunders — I can give you all you want. 

Rose— (Hesitated.) I — I — I'd rather stay here 
— to-night. 

Saunders — Why .? 

Rose — (Looking around the room.) There are 
memories here that cannot be easily forgotten. I 
have suffered here — I still suffer — here. I would 
suffer more to-night if I should go elsewhere. 
(Laying her hand on his arm.) You have brought 
me the greatest comfort a man could possibly 
bring to a woman — the knowledge that in her 
suffering she has done nothing that the world 
could really censure. I am a wife, even though 



108 BIRDS OF A FEATHER 

my — husband — is one that no woman could be 
proud of. {Her voice breaks.) When — my — 
baby — passed away, I thanked my God its little 
life had ended as it did — because of what it would 
have had to go through had it lived — the knowl- 
edge that some day it might learn its mother 
had been no wife to any man. Now — now, I 
wonder why God took it from me. {She cries 
softly. Saunders stands looking at her for a 
moment^ then he touches her hand tenderly.) 

Saunders — I'm going now. To-morrow I'll 
come back and take you away from this place of 
tender memories. You'll want to go back to your 
little home in the mountains that you left when 
you were a little girl — a woman, now — because 
suffering makes womanhood. Some day, when you 
have regained — your freedom — and your health — 
you're going to send me word that you want to see 
me — and this time I'll come at the first call — but 
when I come, I can hold out my hand to you, and 
you can take it without shame — not because your 
heart is tender, as it was when you helped me six 
years ago — but because you will realize that it's a 
hand that you yourself have made — a clean one — 
and when I hold it out to you, back of it will be a 
heart that has been beating with hope and — love 
for you for a long, long time. {She does not 
reply.) I — don't suppose you can give me even a 



ACT IV 109 

little word of encouragement, to-night? I guess 
your heart is too full of what has passed to think, 
as I do, of what is to come. 

Rose — {After a momenfs silence^ looks at him.) 
My heart is filled — with many things — among 
them gratitude. But, oh, don't ask me for 
something I couldn't give — yet. {Takes his 
hand.) I will go back to the mountains — alone — 
and some day, when I've grown back into a part 
of the little girl you first knew, I will send for 
you — and I will take this hand and I'll kiss it — 
just as I do now — {she does sOy against his wishes) 
and I know it will be a clean hand — made so, 
not by me, but by the best thoughts of a man 
grown — good — by his own efforts. And now, 
good-night. Come for me to-morrow morning — 
everything can be settled up then. 

Saunders — {Slowly takes hat from table^ goes 
to door — turns, holds out his hand to her once more — 
she takes it.) Good-night! {Exit.) 

{Rose comes down slowly^ after locking the door. 
Stands for a moment looking around the room, 
goes over slowly to the old dressing-case, sinks down 
in front of it, opens the bottom drawer, takes out a 
bundle wrapped in a faded silk cover, opens it, takes 
out some baby^s clothes and, last of all, a little 
baby^s shoe. Her head sinks forward until it rests 
on the edge of the drawer, and her lips are pressed 



110 BIRDS OF A FEATHER 

against the shoe. She softly cries as she hugs the 
bahy^s clothes to her breast. The lamp sputters — 
goes out — but she does not move; her sobs are heard 
in the darkness^ 

CURTAIN 



